"Barker, Clive - Weaveworld (b)" - читать интересную книгу автора (Barker Clive)

Maybe that's why, when I sat down to work this morning, I thought of that sill in North Wales, and the orchard and the wall and the meadow. They too are remote, yet - like the copy of Weaveworld that sits beside me on the desk they are here with me still; part of my past, and yet present.

That which is imagined need never be lost, runs the epigram in the book of faery-tales Mimi Laschenski leaves in her granddaughter's keeping. The book will become a repository, before the story of Weaveworld is told; a place where vulnerable enchantments can take refuge. So inner and outer books, tales of Faerie and of Fugue, collapse into a single idea, the same precious idea that brings readers to bookstores with battered copies to be signed, and me, back to memories of a sill and an orchard to set before you. It's such a simple idea, but it still seems to me miraculous: that in words we may preserve ideas and images precious to us. Not only Preserve them, but pass them on. To dream in isolation can be properly splendid to be sure; but to dream in company seems to me infinitely preferable.

C.B.

BOOK ONE

IN THE KINGDOM OF THE CUCKOO

Part One

Wild Blue Yonder

'I, for one, know of no sweeter sight for a man's eyes than his own country.. . ' Homer, The Odyssey

HOMING

Nothing ever begins.

There is no first moment; no single word or place from which this or any other story springs.

The threads can always be traced back to some earlier tale, and to the tales that preceded that: though as the narrator's voice recedes the connections will seem to grow more tenuous, for each age will want the tale told as if it were of its own making.

Thus the pagan will be sanctified, the tragic become laughable; great lovers will stoop to sentiment, and demons dwindle to clockwork toys.

Nothing is fixed. In and out the, shuttle goes, fact and fiction, mind and matter, woven into patterns that may have only this in common: that hidden amongst them is a filigree which will with time become a world.

It must be arbitrary then, the place at which we chose to embark.

Somewhere between a past half forgotten and a future as yet only glimpsed.

This place, for instance.

This garden, untended since the death of its protector three months ago, and now running riot beneath a blindingly bright late August sky; its fruits hanging unharvested, its herbaceous borders coaxed to mutiny by a summer of torrential rain and sudden, sweltering days.

This house, identical to the hundreds of others in this street alone, built with its back so close to the railway track that the passage of the slow train from Liverpool to Crewe rocks the china dogs on the dining-room sill.

And with this young man, who now steps out of the back door and makes his way down the beleaguered path to a ramshackle hut from which there rises a welcoming chorus of coos and flutterings.

His name is Calhoun Mooney, but he's universally known as Cal. He is twenty-six, and has worked for five years at an insurance firm in the city centre. It's a job he takes no pleasure in, but escape from the city he's lived in all his life seems more unlikely than ever since the death of his mother, all of which may account for the weary expression on his well-made fare.

He approaches the door of the pigeon loft, opens it, and at that moment - for want of a better - this story takes wing.

Cal had told his father several times that the wood at the bottom of the soft door was deteriorating. It could only be a matter of time before the planks rotted completely, giving the rats who lived and grew gross along the railway line access to the pigeons. But Brendan Mooney had shown little or no interest in his racing birds since Eileen's death. This despite; or perhaps because, the birds had been his abiding passion during her life. How often had Cal heard his mother complain that Brendan spent more time with his precious pigeons that he did inside the house? She would not have had that complaint to make now; now Cal's father sat most of every day at the bade window, staring out into the garden and watching the wilderness steadily take charge of his wife's handiwork, as if he might find in the spectacle of dissolution some clue as to how his grief might be similarly erased. There was little sign that he was learning much from his vigil however. Every day, when Cal came back to the house in Chariot Street - a house he'd thought to have left for good half a decade ago, but which his father's isolation had obliged him to return to - it seemed he found Brendan slightly smaller. Not hunched, but somehow shrunken, as though he'd decided to present the smallest possible target to a world suddenly grown hostile.

Murmuring a welcome to the forty or so birds in the loft, Cal stepped inside, to be met with a scene of high agitation. All but a few of the pigeons were flying back and forth in their cages, near to hysteria. Had the rats been in, Cal wondered? He cast around for any damage, but there was no visible sign of what had fuelled this furore.

He'd never seen them so excited. For fully half a minute he stood in bewilderment, watching their display, the din of their wings making, his head reel, before deciding to step into the largest of the cages and claim the prize birds from the melee before they did themselves damage.