The City in the Autumn Stars

I have to agree with Oakshaman that The City in the Autumn Stars is one of the most interesting "fantasy" novels I have read. I place "fantasy" in quotations because the first two von Bek books seem to be Jungian dream narratives told in the form of the Gothic Romance rather than pulp fantasy like some of Michael Moorcock's earlier work. By the way I love the Elric and Hawkmoon series and I am not demeaning them. To mine the Jungian vein, Moorcock presents the usual suspects-the self, the anima, the animus, the shadow (or many shadow-like entities), the archetypal gods (Lucifer here), the symbols- the grail, the sword, the eternal female-and the journey or quest that leads to individuation. Alchemy here is not a scientific or pseudo scientific experiment to manufacture gold or find the philosopher's stone, its purpose is to meld the feminine with the masculine to create the whole man, which occurs at the end of the novel. What fascinates me about Moorcock is that he is like Ingmar Bergman. He has a stock company of actors (characters) and they reappear in all of his works in virtually the same plot but because of his sheer inventiveness each retelling of the same story is unique and entertaining. The wrapping of this novel is particularly pleasing. It is the time of the French Revolution. Tom Paine, a Gothic hero by the way, Robespierre and the guillotine all play a role as von Bek flees France and travels through Revolutionary Europe. The first half of the novel is realistic; the second is fantastic. It the swashbuckling first half that entices and delights. We follow the hero faithfully and happily to hell and back.

This volume is not strictly a sequel to _The Warhound and the World's Pain_, since it takes place 150 years later. The hero is not Ulrich von Bek but his descendent, Manfred. The world, and the von Beks, have changed much in this interval- or have they? Instead of holy war tearing Europe apart, it is now the Terror and the spirit of Regicide that threatens to destroy it. Indeed, Manfred von Bek is a man of this new world. He has rejected Magic and the Mysteries (though he was once initiated into the Illuminati.) His Gods are now Revolution, The Rights of Man, and Science. Or rather they were, until his dreams of an enlightened utopia died in the blood filled gutters of revolutionary Paris. Now, he is now simply a wandering cynic out to secure his own fortune by any means necessary.At least he was all this before a chance encounter with the Dutchess of Crete. This fascinating creature becomes an obsession with him. Indeed, he begins to doubt his own sanity in his relentless search for her. While he, himself, represents democracy, reason, and cynicism, the elusive countess is the symbol of royalty, magic, and idealism. Indeed she seems to be the mirror of everything he is not, or has renounced. It is almost like this mysterious, androgenous creature is his own female soul- his anima....In his heated pursuit across Europe, the Ritter von Bek finds himself drawn to Mirenberg, which is paradoxically both the most magical and the most enlightened city in all of Europe. It is also the meeting place for the greatest gathering of alchemists that the world has ever seen. It is here that von Bek tries to cool his obsession for the countess, while filling his own pockets. It almost works, until one night he is abducted and taken to the catacombs deep beneath the city. It is here that he learns that the old tales concerning the Grail, and the Devil, are not foolishness after all. Moreover, he is about to find that the doors to the Mittlemarch are once again open to one of his ancient blood....This hardcover edition has one of the most attractive dust jackets that I've ever seen. Moreover, I have read the book three times now- and even had it signed by the author. I considerate it to be something special for a novel.

One of Moorcock's best fantasy novels. More in the tradition of Gloriana than the Elric or Corum books, City in the Autumn Stars relates the tale of a memeber of the Von Bek family, fleeing the turmoil of the French Revolution only to find himself entangled in an ever-expanding web of alchemical intrigue. Moorcock's use of alchemical symbolism and the various esoteric teachings that swept Europe at the time is an interesting plot device and it creates just the right kind of atmosphere for the fantastic events that develop. Don't expect him to always get his esoteric symbolism right however, he uses the material to spice up his story and develop his allegory in certain places, but the book is still a fantasy and you can't expect it to faithfully represent alchemy. It's a great read and a nice change from the vadhagh, rune-mumbling, albino doom ditties he's written in the past.