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Zusatztext Praise for the Novels of the Change “[A] richly realized story of swordplay and intrigue.”— Entertainment Weekly “[An] epic series.”—Amazing Stories “Truly original.”— Kirkus Reviews “It all seem[s] very real.”— Statesman Journal (Salem! OR) Informationen zum Autor S. M. Stirling Klappentext "[A] vivid portrait of a world gone insane,"* S. M. Stirling's New York Times bestselling Novels of the Change have depicted a vivid, utterly persuasive, and absorbingly unpredictable postapocalyptic wasteland in which all modern technology has been left in ashes, forcing humankind to rebuild an unknowable new world in the wake of unimaginable-and deliberate-chaos. In The Change: Tales of Downfall and Rebirth, S. M. Stirling invites the most fertile minds in science fiction to join him in expanding his rich Emberverse canvas. Here are inventive new perspectives on the cultures, the survivors, and the battles arising across the years and across the globe following the Change-from the ruins of Sydney to the Republic of Fargo and Northern Alberta to Venetian and Greek galleys clashing in the Mediterranean. These adventures revisit beloved people and places from Stirling's fantastic universe, introduce us to new ones, and deliver endlessly fascinating challenges to conquer. *Statesman Journal (Salem, OR) INTRODUCTION The Change as Setting and Secondary World There are a number of perils you can encounter when building a fictional world, particularly if you intend to set a number of stories in it. Running out of story you really want to tell, which induces boredom, is one—Arthur Conan Doyle eventually desperately tried to kill off Sherlock Holmes, whose fame was obscuring the historical novels that he felt (with some justification, they’re very good) were his best work. Edgar Rice Burroughs’ reputation would probably be much higher if he’d written only the first three or four books in his Tarzan and John Carter of Mars series, though more with the former than the latter. Africa was wall-to-wall Lost Races and Lost Cities by the 1940s, and you’d think some would show up from the cabins of the Imperial Airways planes flying over it by then. Which brings up another potential problem: simply running out of space , even if you want to continue and have stories to tell. Patrick O’Brian ran into this problem with his wonderful Aubrey-Maturin series, set during the Napoleonic Wars; eventually he was reduced to unofficially splitting the year 1813 into, as it were, 1813a and 1813b—sort of alternate history versions of the penultimate year! The wars against Napoleon spanned more than a decade; if you throw in the beginning of the struggle against Revolutionary France it covers a full generation—around twenty-five years, with one short truce. Men like Stephen Maturin and “Lucky” Jack Aubrey would have spent their entire adult careers in the period between the fall of the Bastille and Napoleon’s exile to Saint Helena, and by the end of it most of their subordinates would have been born into the wars. That’s more than enough for a series of books! What tripped O’Brian up was simply that he didn’t anticipate how many books he would be writing with this (quite large) cast of characters, and so passed over a good many years as he skipped between the time periods of the earlier books. I took this lesson to heart when starting the novels of the Change, what some call the Emberverse. It tied into another desire, that of making a world that felt ample . Even if you’re worldbuilding for a single novella, it should feel “big,” not fading into nothingness beyond the tight frame, not “thin.” The characters should be aware of an entire universe around them, full of people and things going about their own business. Look at our own world, even in ...
