Êëàéâ Áàðêåð - "Âòîðàÿ êíèãà Èñêóññòâà". Âïåðâûå íà ðóññêîì ÿçûêå. |
«Íàçâàòü Êëàéâà Áàðêåðà ïèñàòåëåì, ñîçäàþùèì “óæàñòèêè”,
âñå ðàâíî ÷òî íàçâàòü The Beatles íåïëîõîé êëóáíîé ãðóïïêîé»
© Êâåíòèí Òàðàíòèíî
"Ýêñìî” è “Äîìèíî” ïðîäîëæèëè ïåðñîíàëüíóþ ñåðèþ Êëàéâà Áàðêåðà (â èçäàòåëüñêèõ ïëàíàõ åå íàçûâàþò “Êíèãè êðîâè Êëàéâà Áàðêåðà”) åãî ðîìàíîì “Ýâåðâèëëü” (“Everville: The Second Book of the Art”, 1994). Ýòî âòîðàÿ ÷àñòü íåçàâåðøåííîé òðèëîãèè “Êíèãà Èñêóññòâà” (“Book Of The Art”), íà÷àòîé ðîìàíîì “ßâëåíèå òàéíû” (“The Great and Secret Show: The First Book Of The Art”, 1989). Áàðêåð ñîáèðàåò ìàòåðèàë äëÿ òðåòüåé êíèãè öèêëà, íî îáåùàåò íàïèñàòü åå ëèøü ïîñëå çàâåðøåíèÿ ðàáîòû íàä òðåìÿ ðîìàíàìè öèêëà “Àáàðàò” (“Abarat”).
Êëàéâ Áàðêåð: Ýâåðâèëëü / Everville
Libra's note: Ðîìàí â æàíðå òåìíîé ôýíòåçè, ïðîäîëæåíèå “The Great And Secret Show”
Èçäàòåëüñòâî: Ýêñìî, 2008 ã.
Ñóïåðîáëîæêà, 672 ñòð.; òèðàæ: 4000 ýêç.
Àííîòàöèÿ ê çàïàäíîìó èçäàíèþ “Everville”: «On the borderland between this world and the world of Quiddity, the sea of our dreams, sits Everville.For years it has lived in ignorance of the gleaming shore on which it lies.But its ignorance is not bliss. Opening the door between worlds, Clive Barker delivers his characters into the heart of the human mystery; into a place of revelation, where the forces which have shaped our past—and are ready to destroy our future—are at work.»
Àííîòàöèÿ ê ðîññèéñêîìó èçäàíèþ: «Ýâåðâèëëü... Âå÷íûé ãîðîä... Î íåì îäíàæäû ðàññêàçàë Î'Êîííåëàì, àìåðèêàíñêèì ïèîíåðàì-ïåðåñåëåíöàì, íåêèé çàãàäî÷íûé ÷åëîâåê, êîòîðîãî îíè âñòðåòèëè ïî ïóòè íà Çàïàä, â ñâîáîäíûå çåìëè Îðåãîíà. Ýòà âñòðå÷à îïðåäåëèëà èõ áóäóùåå. Îòíûíå îòåö è äî÷ü ìå÷òàþò îñíîâàòü ïîñåëåíèå, ãîðîä áóäóùåãî, ãîðîä-óòîïèþ. Ðåàëèçàöèÿ çàâåòíîé ìå÷òû äàåòñÿ èì äîðîãîé öåíîé - öåíîé æèçíè ãëàâû ñåìåéñòâà è çàìóæåñòâîì þíîé Ìýâ ñ ñóùåñòâîì èç èíîãî ìèðà. À ìíîãî ïîêîëåíèé ñïóñòÿ - ãîðîä óæå ñîçäàí è ïðîöâåòàåò - ÷åðåç ìàãè÷åñêèé ïîðòàë â îêðåñòíîñòÿõ Ýâåðâèëëÿ ñþäà ïðîíèêàþò äåìîíû, ÷òîáû óíè÷òîæèòü íàø ìèð.
Âïåðâûå íà ðóññêîì ÿçûêå âòîðàÿ êíèãà Èñêóññòâà!»
Òåêñò ñ çàäíåãî ôîðçàöà: «Êëàéâ Áàðêåð — îäèí èç ñàìûõ óíèêàëüíûõ ïèñàòåëåé ñîâðåìåííîñòè.
Åãî òâîð÷åñêèé ïóòü íà÷àëñÿ ñî çíàìåíèòûõ “Êíèã êðîâè”, øåñòè ñáîðíèêîâ ïîâåñòåé, êîòîðûå íå òîëüêî çàíîâî ïåðåîñìûñëèëè âåñü æàíð ìèñòèêè, íî è âîçâåëè ýòîò “íèçìåííûé” æàíð â ðàíã âûñîêîé ëèòåðàòóðû. Ñëåäóþùèì çíàìåíèòûì òâîðåíèåì Êëàíâà Áàðêåðà ñòàë âñåìèðíî èçâåñòíûé “Âîññòàâøèé èç àäà”, ìàëåíüêèé ðîìàí, êîòîðûé ÷óòü ïîçäíåå ñàì ïèñàòåëü ýêðàíèçèðîâàë, ñîçäàâ êóëüòîâóþ êèíîýïîïåþ.
Äàëåå ïîñëåäîâàëè íå ìåíåå êëàññè÷åñêèå “Ïðîêëÿòàÿ èãðà”. “Ñîòêàííûé ìèð”, “Êíèãè Èñêóññòâà” (“ßâëåíèå òàéíû” è “Ýâåðâèëëü”), “Èìàäæèêà” , “Òàèíñòâî” è ìíîãèå äðóãèå ïðîèçâåäåíèÿ, ïðèíåñøèå Êëàéâó Áàðêåðó ñëàâó îäíîãî èç ñàìûõ íåïðåäñêàçóåìûõ, òàëàíòëèâûõ è ìíîãîîáåùàþùèõ ñîâðåìåííûõ ïèñàòåëåé.
Åãî ïðîèçâåäåíèÿ ñðàâíèâàëè è ñðàâíèâàþò ñ òâîð÷åñòâîì Ýäãàðà Àëëàíà Ïî, Ãîâàðäà Ëàâêðàôòà. Ñòèâåíà Êèíãà, Äæ. Ð. Ð. Òîëêèíà, Ãàáðèýëÿ Ãàðñèà Ìàðêåñà. Íàòàíèýëÿ Ãîòîðíà, Ìýðè Øåëëè, Òîìàñà Ïèí÷îíà. Óèëüÿìà Ôîëêíåðà».
Ðåêëàìíûå öèòàòû ñ çàäíåé îáëîæêè: «Â ñâîåì òâîð÷åñòâå Áàðêåð çàäåéñòâóåò ìîòèâû Äæîéñà, Ïî, Òîëêèíà è Êèíãà, â ðåçóëüòàòå ñîçäàâàÿ òî åäèíîå öåëîå, êîòîðîå è ïðîñëàâèëî âñåõ çíàìåíèòûõ ðàññêàç÷èêîâ: ïðîèçâåäåíèå, îò êîòîðîãî íåâîçìîæíî îòîðâàòüñÿ» (The Washington Times)
«Ñîâìåùàÿ ýëåìåíòû ìèñòèêè è ñþððåàëèñòè÷åñêîé ëèòåðàòóðû, Áàðêåð ïèøåò êíèãè, êîòîðûå ÷èòàþòñÿ êàê ñìåñü Ñòèâåíà Êèíãà è Ãàáðèýëÿ Ãàðñèà Ìàðêåñà» (Boston Herald)
«Êëàéâ Áàðêåð — ìàã è âîëøåáíèê âûñøåãî ïîðÿäêà» (New York Daily News)
«Ñàìûé ìíîãîîáåùàþùèé òâîðåö òåìíîãî ôýíòåçè» (Publishers Weekly)
«Íàçâàòü Êëàéâà Áàðêåðà ïèñàòåëåì, ñîçäàþùèì “óæàñòèêè”, âñå ðàâíî ÷òî íàçâàòü The Beatles íåïëîõîé êëóáíîé ãðóïïêîé» (Êâåíòèí Òàðàíòèíî)
Ñîâñåì íåäàâíî íà îñíîâå “The Great and Secret Show” áûë èçäàí êîìèêñ, ñîñòîÿùèé èç 12 ÷àñòåé, ïå÷àòàâøèõñÿ ñ ìàðòà 2006 ïî ìàé 2007 ãîäà. Îäèí èç ïåðñîíàæåé “Êíèãè Èñêóññòâà” Ãàððè Ä`Àìóð (Harry D'Amour) òàêæå ïîÿâëÿåòñÿ â ðàññêàçàõ “Lost Souls” è “The Last Illusion”.
Èç ýíöèêëîïåäèè ôàíòàñòèêè ïîä ðåä. Âë.Ãàêîâà: «Â 1989 ã. Áàðêåð íà÷àë íîâóþ ñåðèþ ðîìàíîì “Âåëèêîå è òàéíîå øîó”/The Great and Secret Show/ (“ßâëåíèå òàéíû”), ãäå âñåëåíñêàÿ áèòâà Äîáðà è Çëà ðàçâîðà÷èâàåòñÿ â ñîâðåìåííîé Êàëèôîðíèè è îäíîâðåìåííî â èíûõ èçìåðåíèÿõ; ïðîäîëæåíèå - “Ýâåðâèëü” /Evervill (1994)».
Îïèñàíèå “Everville” èç áàçû æóðíàëà “Locus”: «Ýïè÷åñêàÿ òåìíàÿ ôýíòåçè, ïðîäîëæåíèå “The Great and Secret Show”. Ñòðàííûå óæàñû Ñóáñòàíöèè òàÿòñÿ âîçëå ñàìûõ ãðàíèö ãîðîäêà â Îðåãîíå».
Ðàíåå â ýòîé ñåðèè âûøëè ðîìàíû Áàðêåðà:
“ßâëåíèå òàéíû” (“The Great and Secret Show: The First Book Of The Art”, 1989). Íîìèíèðîâàëñÿ íà “Locus”-1990 (3 ìåñòî â êàòåãîðèè “horror novel”).
“Êàíüîí Õîëîäíûõ Ñåðäåö” (“Cold Heart Canyon”, 2001). Âûäâèãàëñÿ íà “Locus”-2002 (14 ìåñòî) è “International Horror Guild Award”-2002.
“Ãàëèëè” (“Galilee: A Romance”, 1998). Íàãðàæäåí “Lambda Award”-1999 (âûäàåòñÿ “Lambda Literary Foundation” çà “works of gay and lesbian literature”); íîìèíèðîâàëñÿ íà “Locus”-1999 (4 ìåñòî).
À òàêæå ñáîðíèêè:
“Êíèãè êðîâè I-II. Ñåêñ, ñìåðòü è ñèÿíèå çâåçä” (äâà ñáîðíèêà - “The Book Of Blood” (1984; íàãðàæäåí “World Fantasy Award”-1985) è “The Books of Blood Volume Two” (1984; íàãðàæäåí “World Fantasy Award”-1985))
“Êíèãè êðîâè III-IV. Èñïîâåäü ñàâàíà” (äâà ñáîðíèêà - “The Books of Blood Volume Three” (1984; íàãðàæäåí “World Fantasy Award”-1985) è “The Inhuman Condition” (1985; áðèòàíñêîå íàçâàíèå - “Book Of Blood Volume Four”))
“Êíèãè êðîâè V-VI. Äåòè Âàâèëîíà” (äâà ñáîðíèêà - “In The Flesh” (1986; áðèòàíñêîå íàçâàíèå - “The Book Of Blood Volume 5”) è “Cabal” (áðèòàíñêîå íàçâàíèå - “The Book Of Blood Volume Six”, 1988; íîìèíèðîâàëñÿ íà “World Fantasy Award”-1989 è “Locus”-1989 (7 ìåñòî)).
| Ðóáðèêè: | Clive Barker |
| Êîììåíòèðîâàòü | « Ïðåä. çàïèñü — Ê äíåâíèêó — Ñëåä. çàïèñü » | Ñòðàíèöû: [1] [Íîâûå] |