Download Dancing on the Head of a Pin (Remy Chandler, Book 2) by Thomas E. Sniegoski PDF

By Thomas E. Sniegoski

Meet Remy Chandler...

He's one of many sturdy guys...

But he's in undesirable trouble...

Having misplaced the affection of his existence, Remy unearths himself turning clear of the area. He seeks out risky jobs that contain the supernatural and convey him into touch together with his previous. In his most recent case, a cache of historical weaponry is stolen from a collector who offers in antiques of a depressing and doubtful nature.

The guns have been solid eons in the past and imbued with incredible energy. within the improper arms they could spoil Heaven and Earth. to avoid that, Remy Chandler needs to come to a decision if he's keen to lose the final of his personal humanity...

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Additional info for Dancing on the Head of a Pin (Remy Chandler, Book 2)

Sample text

It is that singular kind of nightmare some of us dream obsessively, in which you encounter a series of terrifying faces, and only gradually do you come to realize that these faces are terrified, and that you are the cause of the terror. Maskull himself is at once the most remarkable and most frightening consciousness upon Tormance, and Maskull after all is technically a lost traveller, cut off in space and Page 14 time. His truest precursor, as I will suggest later, may be Browning's Childe Roland, who is himself far darker than the dark tower he searches out.

He will never see Night-spore again, because Nightspore is his own spiritual form, who cannot function upon Tormance until his natural aspect, embodied in Maskull, has died. And there is not the slightest doubt but that Maskull is doom-eager, in the mode of Shelley's Poet in Alastor, or of Ovid's Narcissus. He is also astonishingly violent, and awesomely capable of enduring the really unbearable climates, regions and beings of the accursed world of Tormance. " Since Maskull is hardly interested in his own delight, but only in his own possible sublimity, a very curious narrative principle goes to work as soon as Maskull starts walking due North upon Tormance.

I know of no book Page 12 that has caused me such an anxiety of influence, an anxiety to be read everywhere in my fantasy imitating it, The Flight to Lucifer. I have a vivid recall still of the surprise and shock I felt when it was republished in 1963, and my friend John Hollander gave me the book to read, quietly telling me it was written for me. Repeated readings have confirmed my initial sense that no other fictional work inflicts such spiritual violence upon its audience. E. H. Visiak, himself the author of a violently effective fantasy in his Medusa, accurately observed this strange tonality of A Voyage to Arcturus: This effect, whatever may be the cause of peculiar subconscious energy that was involved, is violently disturbing.

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