Rogues (Anglais) Relié – 17 juin 2014
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Joe Abercrombie is one of the fastest-rising stars in fantasy today, acclaimed by readers and critics alike for his tough, spare, no-nonsense approach to the genre. He’s probably best known for his First Law trilogy, the first novel of which, The Blade Itself, was published in 2006; it was followed in subsequent years by Before They Are Hanged and Last Argument of Kings. He’s also written the stand-alone fantasy novels Best Served Cold and The Heroes. His most recent novel is Red Country. In addition to writing, Abercrombie is also a freelance film editor, and lives and works in London.
In the fast-paced thriller that follows, he takes us deep into the dirty, rank, melodious, and mazelike streets of Sipani, one of the world’s most dangerous cities, for a deadly game of Button, Button, Who’s Got the Button?
Tough Times All Over
Damn, but she hated Sipani.
The bloody blinding fogs and the bloody slapping water and the bloody universal sickening stink of rot. The bloody parties and masques and revels. Fun, everyone having bloody fun, or at least pretending to. The bloody people were worst of all. Rogues every man, woman, and child. Liars and fools, the lot of them.
Carcolf hated Sipani. Yet here she was again. Who, then, she was forced to wonder, was the fool?
Braying laughter echoed from the mist ahead and she slipped into the shadows of a doorway, one hand tickling the grip of her sword. A good courier trusts no one, and Carcolf was the very best, but in Sipani, she trusted . . . less than no one.
Another gang of pleasure-seekers blundered from the murk, a man with a mask like a moon pointing at a woman who was so drunk she kept falling over on her high shoes. All of them laughing, one of them flapping his lace cuffs as though there never was a thing so funny as drinking so much you couldn’t stand up. Carcolf rolled her eyes skyward and consoled herself with the thought that behind the masks they were hating it as much as she always did when she tried to have fun.
In the solitude of her doorway, Carcolf winced. Damn, but she needed a holiday. She was becoming a sour ass. Or, indeed, had become one and was getting worse. One of those people who held the entire world in contempt. Was she turning into her bloody father?
“Anything but that,” she muttered.
The moment the revelers tottered off into the night, she ducked from her doorway and pressed on, neither too fast nor too slow, soft bootheels silent on the dewy cobbles, her unexceptional hood drawn down to an inconspicuous degree, the very image of a person with just the average amount to hide. Which, in Sipani, was quite a bit.
Over to the west somewhere, her armored carriage would be speeding down the wide lanes, wheels striking sparks as they clattered over the bridges, stunned bystanders leaping aside, driver’s whip lashing at the foaming flanks of the horses, the dozen hired guards thundering after, streetlamps gleaming upon their dewy armor. Unless the Quarryman’s people had already made their move, of course: the flutter of arrows, the scream of beasts and men, the crash of the wagon leaving the road, the clash of steel, and finally the great padlock blown from the strongbox with blasting powder, the choking smoke wafted aside by eager hands, and the lid flung back to reveal . . . nothing.
Carcolf allowed herself the smallest smile and patted the lump against her ribs. The item, stitched up safe in the lining of her coat.
She gathered herself, took a couple of steps, and sprang from the canal side, clearing three strides of oily water to the deck of a decaying barge, timbers creaking under her as she rolled and came smoothly up. To go around by the Fintine bridge was quite the detour, not to mention a well-traveled and well-watched way, but this boat was always tied here in the shadows, offering a shortcut. She had made sure of it. Carcolf left as little to chance as possible. In her experience, chance could be a real bastard.
A wizened face peered out from the gloom of the cabin, steam issuing from a battered kettle. “Who the hell are you?”
“Nobody.” Carcolf gave a cheery salute. “Just passing through!” and she hopped from the rocking wood to the stones on the far side of the canal and was away into the mold-smelling mist. Just passing through. Straight to the docks to catch the tide and off on her merry way. Or her sour-assed one, at least. Wherever Carcolf went, she was nobody. Everywhere, always passing through.
Over to the east, that idiot Pombrine would be riding hard in the company of four paid retainers. He hardly looked much like her, what with the moustache and all, but swaddled in that ever-so-conspicuous embroidered cloak of hers, he did well enough for a double. He was a penniless pimp who smugly believed himself to be impersonating her so she could visit a lover, a lady of means who did not want their tryst made public. Carcolf sighed. If only. She consoled herself with the thought of Pombrine’s shock when those bastards Deep and Shallow shot him from his saddle, expressed considerable surprise at the moustache, then rooted through his clothes with increasing frustration, and finally, no doubt, gutted his corpse only to find . . . nothing.
Carcolf patted that lump once again and pressed on with a spring in her step. Here went she, down the middle course, alone and on foot, along a carefully prepared route of back streets, of narrow ways, of unregarded shortcuts and forgotten stairs, through crumbling palaces and rotting tenements, gates left open by surreptitious arrangement and, later on, a short stretch of sewer that would bring her out right by the docks with an hour or two to spare.
After this job, she really had to take a holiday. She tongued at the inside of her lip, where a small but unreasonably painful ulcer had lately developed. All she did was work. A trip to Adua, maybe? Visit her brother, see her nieces? How old would they be now? Ugh. No. She remembered what a judgmental bitch her sister-in-law was. One of those people who met everything with a sneer. She reminded Carcolf of her father. Probably why her brother had married the bloody woman . . .
Music was drifting from somewhere as she ducked beneath a flaking archway. A violinist, either tuning up or of execrable quality. Neither would have surprised her. Papers flapped and rustled upon a wall sprouting with moss, ill-printed bills exhorting the faithful citizenry to rise up against the tyranny of the Snake of Talins. Carcolf snorted. Most of Sipani’s citizens were more interested in falling over than rising up, and the rest were anything but faithful.
She twisted about to tug at the seat of her trousers, but it was hopeless. How much do you have to pay for a new suit of clothes before you avoid a chafing seam just in the worst place? She hopped along a narrow way beside a stagnant section of canal, long out of use, gloopy with algae and bobbing rubbish, plucking the offending fabric this way and that to no effect. Damn this fashion for tight trousers! Perhaps it was some kind of cosmic punishment for her paying the tailor with forged coins. But then Carcolf was considerably more moved by the concept of local profit than that of cosmic punishment, and therefore strove to avoid paying for anything wherever possible. It was practically a principle with her, and her father always said that a person should stick to their principles—
Bloody hell, she really was turning into her father.
A ragged figure sprang from an archway, the faintest glimmer of steel showing. With an instinctive whimper, Carcolf stumbled back, fumbling her coat aside and drawing her own blade, sure that death had found her at last. The Quarryman one step ahead? Or was it Deep and Shallow, or Kurrikan’s hirelings . . . but no one else showed themselves. Only this one man, swathed in a stained cloak, unkempt hair stuck to pale skin by the damp, a mildewed scarf masking the bottom part of his face, bloodshot eyes round and scared above.
“Stand and deliver!” he boomed, somewhat muffled by the scarf.
Carcolf raised her brows. “Who even says that?”
A slight pause, while the rotten waters slapped the stones beside them. “You’re a woman?” There was an almost apologetic turn to the would-be robber’s voice.
“If I am, will you not rob me?”
“Well . . . er . . .” The thief seemed to deflate somewhat, then drew himself up again. “Stand and deliver anyway!”
“Why?” asked Carcolf.
The point of the robber’s sword drifted uncertainly. “Because I have a considerable debt to . . . that’s none of your business!”
“No, I mean, why not just stab me and strip my corpse of valuables, rather than giving me the warning?”
Another pause. “I suppose . . . I hope to avoid violence? But I warn you I am entirely prepared for it!”
He was a bloody civilian. A mugger who had blundered upon her. A random encounter. Talk about chance being a bastard! For him, at least. “You, sir,” she said, “are a shitty thief.”
“I, madam, am a gentleman.”
“You, sir, are a dead gentleman.” Carcolf stepped forward, weighing her blade, a stride length of razor steel lent a ruthless gleam from a lamp in a window somewhere above. She could never be bothered to practice, but nonetheless she was far more than passable with a sword. It would take a great deal more than this stick of gutter trash to get the better of her. “I will carve you like—”
The man darted forward with astonishing speed, there was a scrape of steel, and before Carcolf even thought of moving, the sword was twitched from her fingers and skittered across the greasy cobbles to plop into the canal.
“Ah,” she said. That changed things. Plainly her attacker was not the bumpkin he appeared to be, at least when it came to swordplay. She should have known. Nothing in Sipani is ever quite as it appears.
“Hand over the money,” he said.
“Delighted.” Carcolf plucked out her purse and tossed it against the wall, hoping to slip past while he was distracted. Alas, he pricked it from the air with impressive dexterity and whisked his sword point back to prevent her escape. It tapped gently at the lump in her coat.
“What have you got . . . just there?”
From bad to much, much worse. “Nothing, nothing at all.” Carcolf attempted to pass it off with a false chuckle, but that ship had sailed and she, sadly, was not aboard, any more than she was aboard the damn ship still rocking at the wharf for the voyage to Thond. She steered the glinting point away with one finger. “Now I have an extremely pressing engagement, so if—” There was a faint hiss as the sword slit her coat open.
Carcolf blinked. “Ow.” There was a burning pain down her ribs. The sword had slit her open too. “Ow!” She subsided to her knees, deeply aggrieved, blood oozing between her fingers as she clutched them to her side.
“Oh . . . oh no. Sorry. I really . . . really didn’t mean to cut you. Just wanted, you know . . .”
“Ow.” The item, now slightly smeared with Carcolf’s blood, dropped from the gashed pocket and tumbled across the cobbles. A slender package perhaps a foot long, wrapped in stained leather.
“I need a surgeon,” gasped Carcolf, in her best I-am-a-helpless-woman voice. The Grand Duchess had always accused her of being overdramatic, but if you can’t be dramatic at a time like that, when can you? It was likely she really did need a surgeon, after all, and there was a chance that the robber would lean down to help her and she could stab the bastard in the face with her knife. “Please, I beg you!”
He loitered, eyes wide, the whole thing plainly gone further than he had intended. But he edged closer only to reach for the package, the glinting point of his sword still leveled at her.
A different and even more desperate tack, then. She strove to keep the panic out of her voice. “Look, take the money, I wish you joy of it.” Carcolf did not, in fact, wish him joy, she wished him rotten in his grave. “But we will both be far better off if you leave that package!”
His hand hovered. “Why, what’s in it?”
“I don’t know. I’m under orders not to open it!”
“Orders from who?”
Carcolf winced. “I don’t know that either, but—”
Kurtis took the packet. Of course he did. He was an idiot, but not so much of an idiot as that. He snatched up the packet and ran. Of course he ran. When didn’t he?
He tore down the alleyway, heart in mouth, jumped a burst barrel, caught his foot and went sprawling, almost impaled himself on his own drawn sword, slithered on his face through a slick of rubbish, scooping a mouthful of something faintly sweet and staggering up, spitting and cursing, snatching a scared glance over his shoulder—
There was no sign of pursuit. Only the mist, the endless mist, whipping and curling like a thing alive.
He slipped the packet, now somewhat slimy, into his ragged cloak and limped on, clutching at his bruised buttock and still struggling to spit that rotten-sweet taste from his mouth. Not that it was any worse than his breakfast had been. Better, if anything. You know a man by his breakfast, his fencing master always used to tell him.
He pulled up his damp hood with its faint smell of onions and despair, plucked the purse from his sword, and slid blade back into sheath as he slipped from the alley and insinuated himself among the crowds, that faint snap of hilt meeting clasp bringing back so many memories. Of training and tournaments, of bright futures and the adulation of the crowds. Fencing, my boy, that’s the way to advance! Such knowledgeable audiences in Styria, they love their swordsmen there, you’ll make a fortune! Better times, when he had not dressed in rags, or been thankful for the butcher’s leftovers, or robbed people for a living. He grimaced. Robbed women. If you could call it a living. He stole another furtive glance over his shoulder. Could he have killed her? His skin prickled with horror. Just a scratch. Just a scratch, surely? But he had seen blood. Please, let it have been a scratch! He rubbed his face as though he could rub the memory away, but it was stuck fast. One by one, things he had never imagined, then told himself he would never do, then that he would never do again, had become his daily routine.
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Pour les fans de Game of Thrones et d'A song of ice and fire, "the rogue prince" est une très bonne nouvelle qui vient s'imbriquer avec "the princess and the queen" (Dangerous Women) offrant une nouvelle approche de la Danse des Dragons. Bref inratable
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That's what I read first. It was beautifully done, and it was a perfect story about Bast. I am now content to wait for his novella on Auri and the Underthing The Slow Regard of Silent Things coming out this fall.
I read George RR Martin's story about the older Targaryens. It was good, and it was more hasty than his novels. That meant that it moved at a practically breakneck speed for him, and it was easier to keep track of than his deep games. I liked it a lot.
I then read Garth Nix's nonsense stories about godlets, and it was charming and adorable ESPECIALLY because there's a tiny elephant named Rosie who is a major character. Somehow, he sets up an entire world in a brief space. Lovely. It was a good story before his recent release of Clariel: The Lost Abhorsen.
The last that I read (of course I'm going to read the entirety of the anthology now that I've seen the quality) was Neil Gaiman's on the Marquis de Carabas. It tells you almost nothing, but it pulled me back into the world of Neverwhere: A Novel. It was nice.
This book is well worth the money.
Especially recommended stories (roughly in order with my favorites on top):
Diamonds from Tequila
How the Marquis Got His Coat Back
A Year and a Day in Old Theradane
The Lightning Tree
The Rogue Prince, or, a King's Brother
What Do You Do?
A Better Way to Die
So naturally I skipped to the end to read the Neil Gaiman and GRRM stories.
The Gaiman story, "How the Marquis Got His Coat Back" is set in London Below and very solid, creative, and fun, as you would expect from a story about the Marquis.
The GRRM story is a bit underwhelming, and I do love GRRM, but it was just very dry. It's a prequel to "The Princess and the Queen" and it's very similar but just a little bit worse.
Then I went to the beginning to read it like a normal person:
"Tough Times All Over" by Joe Abercrombie -- The schtick here is that the narration follows the McGuffin, so we get the perspective of a new character every couple of pages, whenever the McGuffin changes hands. This means there's lots of rapid sketching and very little depth anywhere and no reason to care about anyone -- gets old very very fast. I abandoned this after about the fourth or fifth perspective change.
"What Do you Do" By Gillian Flynn -- This was an entertaining, well-written story about a prostitute-turned-fake-psychic. I found the ending unsatisfying, however, there was really no need to pile twist upon twist onto what's a solid, vivid, modern-day ghost story.
"The Inn of the Seven Blessings" by Matt Hughes -- About a rogue who becomes possessed by a god. This is a story with boring characters, an okay plot, and a seriously affected writing style. It reads like the author was pretending to be from the 19th century, and for no particular reason. I started skimming about halfway through and don't feel that I lost much.
"Bent Twig" by Joe Lansdale -- A man rescues his stepdaughter from sexual slavery in a poor Southern town, with help from his best friend. To me this read like a violent wish-fulfillment fantasy. Something terrible happens, and then the protagonist comes in and stops it with a minimum of difficulty and kills all the bad guys. The writing was okay, but there really wasn't much to it in terms of plot, character development, or anything else. For someone who was familiar with Lansdale's work and knew and cared more about the characters, it might work, but it didn't do much for me as a standalone story.
"Tawny Petticoats" by Michael Swanwick -- Two rogues (one of whom I guess is apparently an anthropomorphic dog although I didn't realize this until the very end) and a roguish woman they meet work a confidence scheme in a New Orleans where zombies outnumber people six to one. You know, someday I will read a story set in New Orleans where professions exist other than voodoo priestess, confidence man, prostitute, musician, nightclub owner, food service worker, and riverboat captain, but today is not that day. Anyway, this was a cute little story, light and fun in tone. Not one of the most memorable items in this collection but totally acceptable.
"Provenance" by David Ball -- An art dealer sells a painting looted by the Nazis. This is one of the darker stories in the collection. It was gripping and well written although the twist was a bit too telegraphed. (Also, what happened with Joe Cooley Barber? Did I miss something? It seems like he just got ripped off and would presumably be very angry but you never hear of him again in the story.)
"Roaring Twenties" by Carrie Vaughn -- During Prohibition, two women with vaguely-defined magical powers (one can see the future and apparently perform magic related to manipulating time, the other can become invisible) walk into a bar. I felt like this one was reaching to be a little bit more than it was and it was hard to tell what the stakes were -- who the characters are and why we should care. The entire story is about the characters trying to avoid action, and we keep getting told that an action scenario will be impossible for the characters to handle, but then several action scenarios happen and the characters handle it just fine, which is sort of unsatisfying.
"A Year and a Day in Old Theradane" by Scott Lynch -- A retired thief is blackmailed into picking up her old career in a city of constantly-warring wizards. This is probably my favorite story in the collection so far. The protagonist is likeable and easy to relate to, with a clear, impossible seeming goal and dire consequences for failure. It's light and funny but with some serious emotional heft to it as well. There's an anything-can-happen element to the setting that feels deeper and more creative than you get in most short stories.
"Bad Brass" by Bradley Denton. A substitute teacher tries to rob high school students who are stealing (and then selling on the black market) brass instruments from the school where he teaches and his ex-wife is the principal. I'm not making that up and the story seems to take itself completely seriously. There's even a crazy Dickensian style twist ending where -- ok, I'm not going to spoil it, but you know how Dickensian twist endings work -- two characters are secretly related, another character is secretly wealthy, and so on. It's hard to have an opinion on this one, it just left me thinking "WTF?"
"Heavy Metal" by Cherie Priest. An obese man exorcises a murderous demon from an abandoned mine in rural Tennessee. Look, I don't come up with these plots. I really felt I was missing something in this story, there seemed to be some significance I failed to understand and I didn't get the ending.
"The Meaning of Love" by Daniel Abraham. A prince in hiding falls in love with a beautiful young maiden, and the prince's companion must save her from being sold into slavery. The writer does this very weird thing where he conceals the gender of the protagonist (who the reader would otherwise assume is a woman) except for one sentence about a third of the way through the story where he apparently by accident uses the pronoun "he". Again, found this one pretty mediocre and forgettable.
"A Better Way to Die" by Paul Cornell. In an alternate universe where alternate universes interact with our own, a British military officer is faced with his younger self. I have mixed feelings about this one. The setting is really cool -- very traditional British institutions being very traditional and incorporating completely off the wall elements like talking deer attending white tie dinner parties. At the same time, it's a bit underexplained in this particular story, or at least underexplained enough to be frustrating. As a result, this specific story was a little bit hard to follow, but it was intriguing enough that I would be interested in reading more stories in this setting.
"Ill Seen in Tyre" by Steven Saylor. This story is an extended litany to the wonders of Fafhrd and the Gray Mouser, wrapped up in a narrative that is cute, I guess, but totally predictable and pointless. I haven't read Fafhrd and the Gray Mouser, so it felt pretty flat.
"A Cargo of Ivories" by Garth Nix. The first sentence gives you the tone of the whole thing pretty well: "We should have purchased the monkey," whispered Sir Hereward, as he balanced precariously on the ridge of the tiled roof, which was shining bright under the moon and had become extremely slippery, the result of the squall of needle-sharp rain that had just blown through and over the erstwhile knight and his puppet-sorcerer companion, Mister Fitz." I pretty much had no idea what was going on the entire time, and it's not exactly deep literature, but it was cute and creative and I liked it.
"Diamonds from Tequila" by Walter Jon Williams. In order to save his career after a shooting in Mexico, a film star must solve a murder and raise ten million dollars. This is the best story in the collection. Funny, smart and cynically sharp, with a gripping plot and satisfying ending.
"The Caravan to Nowhere" by Phyllis Eisenstein. A teleporting minstrel tends the camels for an Arabian merchant with a drug-addicted son. The narrative was well set up to make you want to know what happens next, but the story was a little weird, for example the inclusion of a teleporting character in a setting that had no other obviously fantastic elements. The matter of the merchant's son being an addict was also played in a surprisingly literal way -- sort of like Dune, if Dune was about a character trying to get his son to go to rehab for spice addiction.
"The Curious Affair of the Dead Wives" by Lisa Tuttle. A Victorian detective is asked to find a missing person. This story is basically an adaptation of the notoriously horrible film "Manos: The Hands of Fate" as a Sherlockian mystery. It was...okay, I guess? I just spent most of the time scratching my head, trying to wonder why anyone would want to write a Victorian Manos.
"Now Showing" by Connie Willis. A girl and her ex-boyfriend uncover a conspiracy at a theme-park-like movie theater of the future. I don't know. It was okay, I guess? Not bad, but didn't really do anything for me. The stakes are very low and the humor is mildly amusing.
"The Lightning Tree" by Patrick Rothfuss. Bast, a magical horndog who is probably a fairy and has planning skills that are alternatively excellent and very poor, acts as a fixer and wish-granter for local children -- but only if they do him a favor first. I'd never heard of Patrick Rothfuss before, but I noticed in the reviews that a lot of people said they bought the book for this story, so I was looking forward to it. I wasn't disappointed -- this was an elegant and intriguing tale.
Let me begin by saying that I am a long-time fan of George Martin's work. I bought this book primarily to read about Daemon Targaryen, the rogue prince. However, I have also enjoyed the other short stories within the volume. That is the advantage of an anthology such as this. You get to sample short stories from a lot of authors to see if one of them will interest you. And, you get to do this without having to read a 500 page novel. With this, you will know right away whose work interests you. I find that to be a valuable service to the picky reader, like me.
Abercrombie's short story was fine. A little too repetitious of a plot, as an item changes hands throughout the story. It was not for me, that story. Flynn's started off hilarious and definitely will hook you into the female character. There are lot of variety here. Some you will like, and some you will not.
I am a regular at the forums of www.towerofthehand.com. While I am far from being a prolific creator of posts over there, I do check in on a regular basis. I read just about everything that I can get my hands on that is related to "A Song of Ice and Fire". Once again, the big man did not disappoint. This short story, "The Rogue Prince" tells of the events which led to the Westerosi civil war known as the "dance of the dragons". The events here predate that of "The Princess and the Queen". The central character is that enigmatic man, Prince Daemon. The same man who met his end on the back of a dragon in the first volume. As the story unfolds, the events which may have led to the bloody war are presented to us. And in true George Martin fashion, we are still not completely sure just how accurate these are. We get conflicting accounts, from two sources. As in the main novels, the desires of the human heart is the primary motivator of events. The Targaryens have a fascinating history. Their history is full of colorful characters. Some are destined for greatness, possessing great abilities and vision like Daenerys Stormborn in the current novels. While some are quite the rogue, like Daemon, pursuing their own self-interests. Rhaegar, who by all accounts had the potential for greatness, and foolishly threw it all away due to one weakness. And others like Aerion Brightflame, full of petty cruelty and prone to fits of insanity. It is doubtful that the events here will have any impact on the plot in the current novels. However, this just serves to enrich the history of the Targaryens, which is the history of Westeros for the last 300 years.
I KNEW that Abercrombie, Rothfuss, Lynch and Gaiman are automatic wins but I was pleased by the rest of the writers as well. Martin delivers a genre spanning collection of well written stories.
I'm now going to check out some other writers while my favorites are completing their current projects ((Half a King in less than a month!!))