Джордж Мартин – Dangerous Women. Part I (страница 2)

By the end of the seventies he had reached the height of his influence as a science fiction writer, and was producing his best work in that category with stories such as the famous “Sandkings,” his best-known story, which won both the Nebula and the Hugo in 1980 (he’d later win another Nebula in 1985 for his story “Portraits of His Children”); “The Way of Cross and Dragon,” which won a Hugo Award in the same year (making Martin the first author ever to receive two Hugo Awards for fiction in the same year): “Bitterblooms”; “The Stone City”; “Starlady”; and others. These stories would be collected in Sandkings, one of the strongest collections of the period. By now he had mostly moved away from Analog, although he would have a long sequence of stories about the droll interstellar adventures of Haviland Tuf (later collected in Tuf Voyaging) running throughout the eighties in the Stanley Schmidt Analog, as well as a few strong individual pieces such as the novella “Nightflyers.” Most of his major work of the late seventies and early eighties, though, would appear in Omni. The late seventies and eighties also saw the publication of his memorable novel Dying of the Light, his only solo SF novel, while his stories were collected in A Song for Lya, Sandkings, Songs of Stars and Shadows, Songs the Dead Men Sing, Nightflyers, and Portraits of His Children. By the beginning of the eighties he’d moved away from SF and into the horror genre, publishing the big horror novel Fevre Dream, and winning the Bram Stoker Award for his horror story “The Pear-Shaped Man” and the World Fantasy Award for his werewolf novella “The Skin Trade.” By the end of that decade, though, the crash of the horror market and the commercial failure of his ambitious horror novel The Armageddon Rag had driven him out of the print world and to a successful career in television instead, where for more than a decade he worked as story editor or producer on such shows as the new Twilight Zone and Beauty and the Beast.

After years away, Martin made a triumphant return to the print world in 1996 with the publication of the immensely successful fantasy novel A Game of Thrones, the start of his Song of Ice and Fire sequence. A freestanding novella taken from that work, “Blood of the Dragon,” won Martin another Hugo Award in 1997. Further books in the Song of Ice and Fire series—A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons, have made it one of the most popular, acclaimed, and bestselling series in all of modern fantasy. Recently, the books were made into an HBO TV series, Game of Thrones, which has become one of the most popular and acclaimed shows on television, and made Martin a recognizable figure well outside of the usual genre boundaries, even inspiring a satirical version of him on Saturday Night Live. Martin’s most recent books are the latest book in the Ice and Fire series, A Dance with Dragons; a massive retrospective collection spanning the entire spectrum of his career, GRRM: A RRetrospective; a novella collection, Starlady and Fast-Friend; a novel written in collaboration with Gardner Dozois and Daniel Abraham, Hunter’s Run; and, as editor, several anthologies edited in collaboration with Gardner Dozois, including Warriors, Songs of the Dying Earth, Songs of Love and Death, and Down These Strange Streets, and several new volumes in his long-running Wild Cards anthology series, including Suicide Kings and Fort Freak. In 2012, Martin was given the Life Achievement Award by the World Fantasy Convention.

Here he takes us to the turbulent land of Westeros, home to his Ice and Fire series, for the bloody story of a clash between two very dangerous women whose bitter rivalry and ambition plunges all of Westeros disastrously into war.

THE PRINCESS AND THE QUEEN, OR, THE BLACKS AND THE GREENS

by George R. R. Martin

Being A History of the Causes, Origins, Battles, and Betrayals of that Most Tragic Bloodletting Known as the Dance of the Dragons, as set down by Archmaester Gyldayn of the Citadel of Oldtown

(here transcribed by GEORGE R.R. MARTIN)

The Dance of the Dragons is the flowery name bestowed upon the savage internecine struggle for the Iron Throne of Westeros fought between two rival branches of House Targaryen during the years 129 to 131 AC. To characterize the dark, turbulent, bloody doings of this period as a “dance” strikes us as grotesquely inappropriate. No doubt the phrase originated with some singer. “The Dying of the Dragons” would be altogether more fitting, but tradition and time have burned the more poetic usage into the pages of history, so we must dance along with the rest.

There were two principal claimants to the Iron Throne upon the death of King Viserys I Targaryen: his daughter Rhaenyra, the only surviving child of his first marriage, and Aegon, his eldest son by his second wife. Amidst the chaos and carnage brought on by their rivalry, other would-be kings would stake claims as well, strutting about like mummers on a stage for a fortnight or a moon’s turn, only to fall as swiftly as they had arisen.

The Dance split the Seven Kingdoms in two, as lords, knights, and smallfolk declared for one side or the other and took up arms against each other. Even House Targaryen itself became divided, when the kith, kin, and children of each of the claimants became embroiled in the fighting. Over the two years of struggle, a terrible toll was taken of the great lords of Westeros, together with their bannermen, knights, and smallfolk. Whilst the dynasty survived, the end of the fighting saw Targaryen power much diminished, and the world’s last dragons vastly reduced in number.

The Dance was a war unlike any other ever fought in the long history of the Seven Kingdoms. Though armies marched and met in savage battle, much of the slaughter took place on water, and … especially … in the air, as dragon fought dragon with tooth and claw and flame. It was a war marked by stealth, murder, and betrayal as well, a war fought in shadows and stairwells, council chambers and castle yards, with knives and lies and poison.

Long simmering, the conflict burst into the open on the third day of third moon of 129 AC, when the ailing, bedridden King Viserys I Targaryen closed his eyes for a nap in the Red Keep of King’s Landing, and died without waking. His body was discovered by a serving man at the hour of the bat, when it was the king’s custom to take a cup of hippocras. The servant ran to inform Queen Alicent, whose apartments were on the floor below the king’s.

The manservant delivered his dire tidings directly to the queen, and her alone, without raising a general alarum; the king’s death had been anticipated for some time, and Queen Alicent and her party, the so-called greens[1], had taken care to instruct all of Viserys’s guards and servants in what to do when the day came.

Queen Alicent went at once to the king’s bedchamber, accompanied by Ser Criston Cole, Lord Commander of the Kingsguard. Once they had confirmed that Viserys was dead, Her Grace ordered his room sealed and placed under guard. The serving man who had found the king’s body was taken into custody, to make certain he did not spread the tale. Ser Criston returned to White Sword Tower and sent his brothers of the Kingsguard to summon the members of the king’s small council. It was the hour of the owl.

Then as now, the Sworn Brotherhood of the Kingsguard consisted of seven knights, men of proven loyalty and undoubted prowess who had taken solemn oaths to devote their lives to defending the king’s person and kin. Only five of the white cloaks were in King’s Landing at the time of Viserys’s death; Ser Criston himself, Ser Arryk Cargyll, Ser Rickard Thorne, Ser Steffon Darklyn, and Ser Willis Fell. Ser Erryk Cargyll (twin to Ser Arryk) and Ser Lorent Marbrand, with Princess Rhaenyra on Dragonstone, remained unaware and uninvolved as their brothers-in-arms went forth into the night to rouse the members of the small council from their beds.

Gathering in the queen’s chambers as the body of her lord husband grew cold above were Queen Alicent herself; her father Ser Otto Hightower, Hand of the King; Ser Criston Cole, Lord Commander of the Kingsguard; Grand Maester Orwyle; Lord Lyman Beesbury, master of coin, a man of eighty; Ser Tyland Lannister, master of ships, brother to the Lord of Casterly Rock; Larys Strong, called Larys Clubfoot, Lord of Harrenhal, master of whisperers; and Lord Jasper Wylde, called Ironrod, master of laws.

Grand Maester Orwyle opened the meeting by reviewing the customary tasks and procedures required at the death of a king. He said, “Septon Eustace should be summoned to perform the last rites and pray for the king’s soul. A raven must needs be sent to Dragonstone at once to inform Princess Rhaenyra of her father’s passing. Mayhaps Her Grace the queen would care to write the message, so as to soften these sad tidings with some words of condolence? The bells are always rung to announce the death of a king, someone should see to that, and of course we must begin to make our preparations for Queen Rhaenyra’s coronation—”