Weaveworld_cover_final

"A visionary, fantasist, poet and painter, Clive Barker has expanded the reaches of human imagination as a novelist, director, screenwriter and dramatist. An inveterate seeker who traverses myriad styles with ease, Barker has left his indelible artistic mark on a range of projects that reflect his creative grasp of contemporary media—from familiar literary terrain to the progressive vision of his Seraphim production company. His 1998 "Gods and Monsters," which he executive produced, garnered three Academy Award nominations and an Oscar for Best Adapted Screenplay. The following year, Barker joined the ranks of such illustrious authors as Gabriel Garcia Marquez, Annie Dillard and Aldous Huxley when his collection of literary works was inducted into the Perennial line at HarperCollins, who then published The Essential Clive Barker, a 700-page anthology with an introduction by Armistead Maupin.

Barker began his odyssey in the London theatre, scripting original plays for his group The Dog Company, including "The History of the Devil," "Frankenstein in Love" and "Crazyface." Soon, Barker began publishing his The Books of Blood short fiction collections; but it was his debut novel, The Damnation Game that widened his already growing international audience.

Barker shifted gears in 1987 when he directed "Hellraiser," based on his novella The Hellbound Heart, which became a veritable cult classic spawning a slew of sequels, several lines of comic books, and an array of merchandising. In 1990, he adapted and directed "Nightbreed" from his short story Cabal. Two years later, Barker executive produced the housing-project story "Candyman," as well as the 1995 sequel, "Candyman 2: Farewell to the Flesh." Also that year, he directed Scott Bakula and Famke Janssen in the noir-esque detective tale, "Lord of Illusions."

Barker's literary works include such best-selling fantasies as Weaveworld, Imajica, and Everville, the children's novel The Thief of Always, Sacrament, Galilee and Coldheart Canyon. The first of his quintet of children's books, Abarat, was published in October 2002 to resounding critical acclaim, followed by Abarat II: Days of Magic, Nights of War and Arabat III: Absolute Midnight; Barker is currently completing the fourth in the series. As an artist, Barker frequently turns to the canvas to fuel his imagination with hugely successful exhibitions across America. His neo-expressionist paintings have been showcased in two large format books, Clive Barker, Illustrator, volumes I & II."

Weaveworld by Clive Barker

Here is storytelling on a grand scale — the stuff of which a classic is made. Weaveworld begins with a rug — a wondrous, magnificent rug — into which a world has been woven. It is the world of the Seerkind, a people more ancient than man, who possesses raptures — the power to make magic. In the last century they were hunted down by an unspeakable horror known as the Scourge, and, threatened with annihilation, they worked their strongest raptures to weave themselves and their culture into a rug for safekeeping. Since then, the rug has been guarded by human caretakers.

The last of the caretakers has just died.

Vying for possession of the rug is a spectrum of unforgettable characters: Suzanna, granddaughter of the last caretaker, who feels the pull of the Weaveworld long before she knows the extent of her own powers; Calhoun Mooney, a pigeon-raising clerk who finds the world he's always dreamed of in a fleeting glimpse of the rug; Immacolata, an exiled Seerkind witch intent on destroying her race even if it means calling back the Scourge; and her sidekick, Shadwell, the Salesman, who will sell the Weaveworld to the highest bidder.

In the course of the novel the rug is unwoven, and we travel deep into the glorious raptures of the Weaveworld before we witness the final, cataclysmic struggle for its possession.

Barker takes us to places where we have seldom been in fiction—places terrifying and miraculous, humorous, and profound. With keen psychological insight and prodigious invention, his trademark graphic vision balanced by a spirit of transcendent promise, Barker explores the darkness and the light, the magical and the monstrous, and celebrates the triumph of the imagination.

CURATOR'S NOTE

Weaveworld is one of Clive Barker's masterworks. Lost magic wars with mundane reality, wild and diverse characters co-exist and intermingle at staggering speed. There is adventure, and magic, philosophy and brilliantly rendered violence. Barker is one of the top fantasists of our age, and this book is a masterpiece. – David Niall Wilson

 

REVIEWS

  • "…the fine style and handling of mythological themes carry the reader to a satisfying conclusion. Both horror and fantasy fans will enjoy this sure-fire best seller…"

    –Library Journal
  • "Wonderfully entertaining...Clive Barker is a magician of the first order."

    –New York Daily News
  • "[Clive Barker] is a mapmaker of the mind, charting the furthest reaches of the imagination....His ambition and audacity are unparalleled; we know that we are in the presence of a vision that is genuine, unique, and lasting."

    –Washington Times
 

BOOK PREVIEW

Chapter 1
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 choose 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 face.

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

2

Cal had told his father several times that the wood at the bottom of the loft 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 than 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 back 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 fueled this furor.

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 mêlée before they did themselves damage.

He unlatched the cage, and had opened it no more than two or three inches when one of last year's champions, a normally sedate cock known, as were they all, by his number — 33 — flew at the gap. Shocked by the speed of the bird's approach, Cal let the door go, and in the seconds between his fingers slipping from the latch and his retrieval of it, 33 was out.

"Damn you!" Cal shouted, cursing himself as much as the bird, for he'd left the door of the loft itself ajar, and — apparently careless of what harm he might do himself in his bid — 33 was making for the sky.

In the few moments it took Cal to latch the cage again, the bird was through the door and away. Cal went in stumbling pursuit, but by the time he got back into the open air, 33 was already fluttering up above the garden. At roof-height he flew around in three ever larger circles, as if orienting himself. Then he seemed to fix his objective and took off in a North-North-Easterly direction.

A rapping drew Cal's attention, and he looked down to see his father standing at the window, mouthing something to him. There was more animation on Brendan's harried face than Cal had seen in months; the escape of the bird seemed to have temporarily roused him from his despondency. Moments later he was at the back door, asking what had happened. Cal had no time for explanation.

"It's off!" he yelled.

Then, keeping his eye on the sky as he went, he started down the path at the side of the house.

When he reached the front the bird was still in sight. Cal leapt the fence and crossed Chariot Street at a run, determined to give chase. It was, he knew, an all but hopeless pursuit. With a tail wind a prime bird could reach a top speed of seventy miles an hour, and though 33 had not raced for the best part of a year he could still easily outpace a human runner. But he also knew he couldn't go back to his father without making some effort to track the escapee, however futile.

At the bottom of the street he lost sight of his quarry behind the rooftops, and so made a detour to the foot bridge that crossed the Woolton Road, mounting the steps three and four at a time. From the top he was rewarded with a good view of the city. North toward Woolton Hill, and off East, and South-East, over Allerton toward Hunt's Cross. Row upon row of council house roofs presented themselves, shimmering in the fierce heat of the afternoon, the herringbone rhythm of the close-packed streets rapidly giving way to the industrial wastelands of Speke.

Cal could see the pigeon too, though he was a rapidly diminishing dot.

It mattered little, for from this elevation 33's destination was perfectly apparent. Less than two miles from the bridge the air was full of wheeling birds, drawn to the spot no doubt by some concentration of food in the area. Every year brought at least one such day, when the ant or gnat population suddenly boomed, and the bird life of the city was united in its gluttony. Gulls up from the mud banks of the Mersey, flying tip to tip with thrush and jackdaw and starling, all content to join the jamboree while the summer still warmed their backs.

This, no doubt, was the call 33 had heard. Bored with his balanced diet of maize and maple peas, tired of the pecking order of the loft and the predictability of each day — the bird had wanted out; wanted up and away. A day of high life; of food that had to be chased a little, and tasted all the better for that; of the companionship of wild things. All this went through Cal's head, in a vague sort of way, while he watched the circling flocks.

It would be perfectly impossible, he knew, to locate an individual bird amongst these riotous thousands. He would have to trust that 33 would be content with his feast on the wing, and when he was sated do as he was trained to do, and come home. Nevertheless, the sheer spectacle of so many birds exercised a peculiar fascination, and crossing the bridge, Cal began to make his way toward the epicenter of this feathered cyclone.