ISBN: 0007117140
ISBN 13: 9780007117147
By: Clive Barker

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About this book

Clive Barker has made his mark on modern fiction by exposing all that is surreal and magical in the ordinary world --- and exploring the profound and overwhelming terror that results. With its volatile mix of the fantastical and the contemporary, the everyday and the otherworldly, Weaveworld is an epic work of dark fantasy and horror -- a tour de force from one of today's most forceful and imaginative artists.Barker turns from his usual horror to epic-length fantasy for this account of the Fugue, a magical land inhabited by descendants of supernatural beings who once shared the earth with humans. The Fugue has been woven into a carpet for protection against those who would destroy it; the death of its guardian occasions a battle between good and particularly repulsive evil forces for control of the Fugue. Weaveworld is rich with memorable characters, exciting situations, and pockets of Barker's trademark horror.

Reader's Thoughts


** spoiler alert ** NO PEEKING-THIS IS NOT EDITED!A WORK IN PROGRESS!!!!!I'm working on it. Watch out Immacolata. CAST OF CHARACTERS:Cal Mooney, Suzanne Parrish, Mimi Laschenski, Immacolata the Incantatrix The Magdalene, The Hag, Shadwell the Salesman, Hobart, Jerichau, Nimrod, Appoline, Romo, Balm de Bono, Lemuel Lo, Uriel.The Cuckoo's, The Seerkind, The Kingdom, The Empire. The Families—Four: The Babus, The Aia, The Lo, The Ye-Me.Magic, Raptures, Weave and Rug. Scourges, Fugues, The Pigeons Fly. The Hag and Wraith kept bid close by. Ever swirling, ghastly-opened, tied earth-bound for evil deed. Their Sister, Immacolata, The Evil Incantatrix, Immortal Virgin, Born of Lilith, Black-Hearted Beauty, Cold-Holder of Dark Raptures-The Potent, Powerful Menstruum. Nymphs flit, they fly, bait from behind, slink beside you with a wink,there is no need here for a bed, when they lay down inside your head. No hope of letting go their grip, it's pure desire, lay back and sip. Beauty's all aflame at the font of Venus Mountain."What is your heartbeats desire?" leers the Salesman. He's Shadwell. He's Shimmering. He's Shady. Oh me, oh my, has there ever been a salesman more vile? This wily? Yesssss—The Virgin's Liar. Fire-Walkers, Orchard-Keepers, Juicy Other-Worldly Peaches. O' Take Care!—O' The Loom!—O' The Gyre! Can this really be all that? This Loyal Girl, That Regular Guy? Dragon or The Dragonslayer? To save the Weave will Four Tribes band to The Cuckoo? To save the Weave will all involved heed their heart? Follow what they come to learn just what it means to have that heart beat true. THE MAGICAL WEAVE Raptures Wove This World Into A Rug.Guarded—Protected In Their Refuge, The Seerkind Sleep-They Sigh, In Deep SlumberBut Time Doth Fly—And Now Dreams Do Begin To Swirl Despair, With Just One Tug The Rugs Custodians Time Caught Up With Her—Now Magic, Raptures, Seerkind, AllWho've Slumbered Fast Within The Weave—Now Find Their Kind Is PreyAhhh, But Who Will Heed The Call? And Just How Far Is A Fall?The Seerkind—The People Of The Fugue—Will TheyCower, Tremble, Shiver, Run—Take Flight?The Kind—Four Family's—Ancient As The Runes Of Time—Will They Find A Way?To Be Courageous, Even Brave—This Fight IS For Their Birthright.The Incantatrix Immacolata—Evil Virgin Sorceress—Cold Heart Quickly Closing InSisters Swirling—SpellBound To Wraith And Wrath—Her Whirling EctoplasmMagic World—O' Treasured Eden—Preserve Unraveled WeaveFor HE'S Awake, The Scourge, His Wrath—Consumed By Fated Hate Alert, The Scourge's Fiery Wrath, His Dragon's Breath, Uriel's Light—This He Does BelieveCan Suzanne And Cal, Two Cukoos, Save Seerkinds Glorious Garden From Their Hated Fate. Weaveworld Is not your average fairy tale...Weaveworld is not your child's fairy tale...Weaveworld is very much an adult fairy tale...a dark fantasy...low fantasy...somewhat the phantasm of erotic magical fantasy, that can be expected from any Clive Barker written for the adult market, although not near as graphic as The Books Of The Art. I'm pointing this out because he is a brilliant writer of children's books as well. Weaveworld was Clive's first "big" book, following his first two novels which were distinctive for the splash they made in the world of horror fiction, a genre he remains quite comfortable with as he is the undisputed master of horror, not only in literature but on film as well. But he did make the personal decision to veer sideways a bit, and in doing so opened himself up to creative journeys landing us all into worlds brilliant with magic and brimming with dreams, a theme he would return to time and again throughout his long career. I can see the birth of The Great and Secret Show and Everville within the pages of Weaveworld, ...working....working...writing...writing...I am working on more. Soon, soon....Until then... QUOTES FROM CLIVE HIMSELF REGARDING WEAVEWORLD: "In the case of Weaveworld, I wrote a lost tribe story. It's something that preoccupies me."— CB 1988"Weaveworld was my version of what the English fantasy tradition has done so well: the imagined world—Tolkein, C.S.Lewis, Lewis Carroll—a British tradition that's notable for the way in which it deals with the notion of mythic worlds."— CB 1986"Tales of Paradise Lost are central to our culture, of course; we are all exiles from some place of bliss. What is that place? A memory of a pre-conscious state of perfect contentment, where we believe ourselves whole because we have not yet comprehended the fact of our physical separation from our mothers? Or a religious conviction, too deep in our cells to be subjected to the rigours of intellectual enquiry, that knows our connection to the planet, to animal life, to the stars? A faith, is it? Or a glorious certainty? It isn't necessary for a storyteller to have answers to the questions they pose, of course; only to he interested enough to ask them. Weaveworld is full of unrequited enquiries. Why does Immacolata's hatred of the Seerkind burn so intensely? Is the creature in the Empty Quarter an angel or not? And if the garden of sand in which it has kept its psychotic vigil is not the Eden of Genesis, then where did the Seerkind arise from? There are certainly answers to these mysteries to be wrought & written, but they would, I am certain, only beg further questions, which if answered would beg yet more. For all its length & elaboration, the novel does not attempt to fill in every gap in its invented history. 'Nothing ever begins', its first line announces; there are innumerable stories from which this fragment of narrative springs & there will be plenty to tell when it's done. Though I have had requests aplenty for a sequel, I will never write one. The tale isn't finished; but I've told all I can."—CB 1990"I thought that would be a nice idea because Wonderland is a kind of sexless place. It always surprises me that when fantasy writers decide to return to a place of true magic...they remove one of the few things that is magical in everybody's lives: sex...So I decided to make an erotic Wonderland."— CB 1986[Weaveworld embodying the point of fantasy] "The longing for the "other place." Yes, obviously that intention was there from the beginning, the feeling is that there is a home which is even more fundamental than the home where you were born, that maybe we have, prenatally, an image of Eden, or of a perfect place, or a place where we may be perfectible."— CB 1987"So many magic worlds are about the liberation to the foulest kinds of wish fulfillment. Men go into enchanted worlds & manage finally to be able to slaughter, like barbarians. Women go into enchanted worlds & become queens & princesses & are worshiped like goddesses, but in actual fact become wholly passive in the same process. What I wanted to do was create a pacifist paradise. Could I create a moment for Cal in the book Weaveworld that was magical to the reader & yet didn't require him to, you know, like kick major alien ass?.You have to write something that makes some kind of metaphysical sense as well as narrative sense. This isn't a fiction of escapism; it's a fiction of confrontation. At its best, I do believe it confronts genuine anxieties & genuine hopes. In Weaveworld, I wanted to talk about where the magic could survive in the 20th century & what we meant by magic."— CB 1988"We live, it seems to me, in a society in which meaning is being drained away, in which metaphysical significance is under siege...150 years ago, our sense that the world was a watch & God was the watchmaker would have been very strong. Now, we are born into a world in which the atom bomb exists...in which AIDS is rampant. We live in a world in which fear & anxiety are commonplace. On one curious level, one of the ways that people have responded to this high level anxiety is not to search. I don't see a massive explosion of genuine metaphysical enquiry. Relating that to the fears that I have & the hope that I have, my fears are finely related to the death of meaning. One of the things that 'Weaveworld' is about is meaning being frail in the world, a frail thing subject to forgetfulness. The major theme of Weaveworld above all is memory. It's about how you hold on to something that you had when you were a child, the knowledge you had as a child, how we as a species hold on to a kind of optimism which we remember. How we have a memory of Eden, a 'race' memory, a subconscious memory of Eden. The word 'fantasy' has now become pejorative. In fact, fantasy fiction has repeatedly through the ages addressed very serious subjects; Moby Dick is a fantasy, Midsummer Night's Dream is a fantasy, The Tempest, Paradise Lost & they contain great moral complexity & depth. So fantasy should not be maligned. Fantasy as a form can contain great depth. Not claiming that 'Weaveworld' is the definitive —it isn't, but it's certainly an attempt on my part to address the possibilities of fantasy, rather than simply its superfice. It can be about life & death, it can be about eroticism transformed to magic, it can be about mystery 'held onto'...it's important to address these subjects. I think fantasy can do it better, because finally, we live a quarter of our lives, a third of our lives, perhaps—in dreamland. In our dreams, we explore & deal with our lives in metaphorical terms—which are parallels to, analogous to the conditions & the fears & the hopes that we have in our waking lives. I would say that in the same way, fantasy is a confrontation with our waking lives, at its best. The problem is, in a genre which is full of phallic swords & that kind of thing, it's important to establish female power & female potency & the eroticism which comes with that. And it needn't all be 'goody-goody' stuff, I mean Immacolata particularly; she's kind of sexy, yet dangerous at the same time. And yet a virgin, which makes her all the more sexier of course. One of my favourite scenes in Weaveworld is when Jerichau makes love with Suzanna, in which his words become poems, which is a kind of image of eroticism which is potent I hope in part because it is anti-chauvinist. Because here is a man who is very vulnerable & very much in love. And of course Cal is very much in love with Suzanna, but it's a non-sexual love, under those circumstances...She has so much power in the book. She's the one who makes the plot turn 90 degrees in places..."— CB 1988 QUOTES FROM THE BOOK WEAVEWORLD : 1) “Nothing ever begins. There is no first moment; no single word or place from which this or any story springs. The threads can always be traced back to some earlier tale & 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[...]Nothing is fixed. In & out the shuttle goes, fact & fiction, mind & matter woven into patterns that may have only this in common: that hidden among them is a filigree that 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 & a future as yet only glimpsed. This place for instance.[...]He approaches the door of the pigeon loft, opens it & at this moment—for want of a better—this story takes wing.” 2) "Heaven is an orchard." 3) "Here was a music which did not imitate any natural sound—it was not bird or whale song, nor tree or stream—but instead expressed experiences which lay between words: the off-beat of the heart, where intellect could not go." 4) “True joy is a profound remembering; and true grief the same.”   5) “Always, worlds within worlds.” 6) "That which is imagined need never be lost." 7) “Maybe the man had taken the wrong turning, but at least he'd travelled some extraordinary roads." 8) “For nothing ever begins. And this story, having no beginning, will have no end.” Uriel-The Angel Of Light—Wrath of Fire?Ectoplasmic WraithsSuzanna's Woodcut Book—Fairy Tale or Map of Instructions? Will she see it again?Large One-DetailedWeaveworld was nominated in 1988 for the World Fantasy Award for Best Novel.Oh Yes, One Last Note: Immacolata The Incantatrix has her own Wikipedia page. Who knew?


Once, there was magic. There were sacred places and secret spots, and beings that held magnificent raptures. They were the Seerkind, and they were the magical children of the world.Then the Scourge came. A being of magnificent power and mad obsession with a singular purpose - to utterly destroy the Seerkind. Its reasons, its motivations were completely unknown and brooked no argument or negotiation. And so, with their numbers being burned down, the Seerkind hid. They used their best magics and their most exquisite raptures to weave their most precious places and people into a haven that no one would ever find, a place that no one would ever look. A carpet.They hoped to wake up once the Scourge had passed, after a few short years.Eighty years later, the final custodian of the Weaveworld dies, leaving her estranged granddaughter, Suzanna to take over her duties. Whether she wanted to or not. Fortunately, she is not alone. Young Calhoun Mooney, the grandson of a poet, stumbled across the enchanted carpet and was ensnared by its intricate beauty. Together, they set off to save the Weaveworld from those who would rule it - or destroy it. Shadwell, an amoral salesman with an enraptured jacket that can produce any item his mark wants with all their heart, leads the hunt. With him, and supporting him is the Incantrantrix Immaculata, who hates the Seerkind with all her cold, dead heart.And somewhere, in a dry, empty place, the Scourge sleeps....I've read this book countless times, and it never gets old. I know Clive Barker is best known for his horror, but, much like Stephen King, he excels at writing fantasy. He has a gift for making his world both magical and believable, describing its magics and its dangers in wonderful detail. What I really enjoy, both in this and his other fantasy masterpiece Imagica, is his ability to name things. Like any true magician, he excels in the art of names, and they're truly exquisite. The Incantantrix Immaculata. Apolline Dubois. Balm DeBono. Lemuel Lo and his Orchard. The names themselves are magical, and it makes it so much more wonderful.I cannot recommend this book enough. Have fun.


Ничто нигде не начинается. Этому меня научил Клайв Баркер. Именно потому что он так старательно пытался описать свои отношения с этой книгой, мне было так просто принять конец, который и не конец вовсе, потому что ничто нигде не начинается, и ничто нигде не кончается.Это исполнение моей самой смелой мечты – нечто фантасмагоричное, недооцененная фэнтезятина, с мурашками по коже. Воплощение всех моих запросов на флэшмоб-2013, причем самого крупного калибра.Надо было видеть меня: я дочитывала книгу в два часа ночи, плюнув на сон, который люблю даже больше книгопечатной продукции. Воплощенный рай под названием Фуга, который спрятали от врагов в нитях ковра, развернулся передо мной во всей своей упоительности.Сотканный мир лег между ними, и так было с самого начала. Этот факт делал нелепой всякую мысль о совместном хозяйстве или романтической связи. Они вместе видели ад и рай, а после такого все остальное будет шагом назад. Герои разделены на стратегические группы: ясновидцы из воплощенного рая, наши чокнутые смертные, Иммаколата с сестрами и Бич. Иммаколата доставила прилично – вроде бы типичный злодей, но вызывает невольную симпатию – почти как Реджина из OUaT (вроде и Злая Королева, но мотивы ее понятны и даже близки).Население Фуги, ясновидцы того самого Сотканного мира, хоть и обладают офигенными способностями, в остальном не вызывают никаких эмоций. Исключение – Нимрод, который в обличье младенца с первых же страниц улыбал.Ясновидцы Фуги радостно называют простых смертных чокнутыми, но этого титула достоин только один человек – протагонист Кэл Муни . Его подпевала Сюзанна Пэрриш быстро превратилась в Мэри Сью, а вот лунатичный Муни, знающий наперечет расписание поездов, заставлял меня продвигаться дальше по тексту. Я и так верила в него, но после кульминации с пиджаком у меня не осталось слов, чтобы выразить то, что я к нему чувствую.И Бич, конечно . Первые 2/3 книги висел над миром незримой угрозой, он вроде бы даже забыл в своем сне, кто он такой и почему так хочет уничтожить Фугу. А потом он проснулся – и Иммаколата на его фоне со своими прибаутками стала выглядеть откровенно бледно. Честно говоря, именно из-за него я потеряла сон. Едва заметный переход от монструозного к божественному и обратно возвел затерявшегося в своей голове Бича в ранг абсолюта, не поддающегося никакому разумному объяснению.Очертания этого существа изменились. Оно уменьшилось, село на горку песка и устремило все глаза на звезды. Бич оставил роль судьи и палача и предался созерцанию. Некоторые сюжетные твисты Supernatural кажутся мне по меньшей мере очень неглупыми, а Клайв Баркер перечеркнул все мое восхищение сверхъестественной франшизой одной своей книгой, одной идеей, которую заронил в мою голову, которой даже не было дано объяснение и подтверждение. Словно мне внезапно показали the bigger picture – и я слегка оглохла от тех возможностей, которые предложил Баркер.На самом деле, терпеть не могу когда так делают – открывают широкий простор для фантазии, а тебе обдумывать миллион вариаций. И одновременно это самое офигенное, что только может дать автор – чувство полнейшей незавершенности, когда на вопрос «откуда оно взялось?» можешь ответить только «фиг знает, оно просто есть». Такие противоречивые чувства сидят в моей голове; выигрывает восхищение Баркером, который не стал закрывать все кавычки и заглядывать под каждый камень. Если бы другие авторы так поступали, давая своему миру развиваться, не углубляя его энциклопедиями, у нас было бы на пару десятков параллельных вселенных больше.По уровню наполнения Баркер схож с Мьевиллем – 800 страниц, и ни одна не потрачена впустую. Описательно Фуга, честно говоря, не идет ни в какое сравнение с практически осязаемым Нью-Кробюзоном, но оное компенсируется динамикой – чего только стоят те эпизоды, когда Фуга расплетается и сворачивается, а Станок агонизирует. Множество намеков (аллюзий, как говорят ученые котики) рисуют практически новый взгляд на мироздание. Это самое обалденное, что мне довелось читать в этом году. Ничто нигде не начинается.Не существует никакого первого мгновения, ни единого слова или места, с которого начинается та или иная история.Всегда можно вернуться к какой-то более ранней легенде и к предшествовавшим ей рассказам, хотя связь между ними истончается, как только голос рассказчика умолкает, ибо каждое новое поколение желает, чтобы легенда была создана именно им.Ничто не привязано к месту. Туда-сюда ходит челнок, факты и фантазии, дела и домыслы сплетаются в узоры, у которых общее только одно: то, что таится внутри них. Та самая филигрань, что со временем превратится в целый мир.annikeh.net


Suggested to me by friend of the family, long ago. Got my hands on it at a bookstore in Buffalo, and have had it on my shelf for years. This book was a bit long-winded. Maybe after having read one 700+ page book, I just wasn't ready for another one. But still, I just wasn't getting into this one as much. There is some great imagery, and Barker is able to tap your senses in his descriptions of scenes and grotesque spirit characters. The evil creatures and spirits in this parallel dimension are quite disgusting, so you can definitely understand why this guy was also behind the creation of the movie Hellraiser.But overall, the plot dragged in several places, and although the imagery of the weaveworld was magnificent, there lacked depth to its existence. There was no elaboration on how it existed, or why it existed in parallel to our world. So that made it somewhat boring. It was a plain good vs. evil conflict.


I read this book when I was in high school and I wanted to see how much it had changed in my mind. Because let's face it, a story we hate or love as a young adult can be totally different when we read it later. Plus, I really wanted to revisit the works of Barker. He's a great author in the horror genre, and a very entertaining read if you can get into his imagery and follow his bizarre story lines. "Weaveworld" attests to Clive Barker's strange imagination. When a young man Calhoun takes off to catch his father's racing pigeon, he finds himself face to face with a carpet that promises the paradise of Cal's imagination. Retaining a small piece of the carpet, Cal and Suzanna, the granddaughter of one of the custodians of the carpet find that this rug is more than ordinary. From the representatives of the fantastical families of the Fugue, the world that was woven into the carpet to escape the being known only as the Scourge, Cal and Suzanna realize that paradise is real...but not safe. In the Kingdom of the Cuckoos (as the real world is known), those fighting for the good of the Fugue are working to save the carpet from those who would seek revenge on the Seerkind woven into the rug: Immacolata and her two demon sisters and the salesman Shadwell, who wears a magic jacket that can entice anyone to do anything in return for their hearts desires. "Weaveworld" is a complex story told like a fairy tale and drawing from both fantasy stories and biblical tales. Barker uses great imagery, and many of the monsters and landscapes he describes take the reader past their everyday knowledge and really stretches the imagination. While I enjoyed this book, I don't think I enjoyed it as much as I did the first time. One thing to remember with Barker is that to read him, you have to be committed. I strugged to stay focused, not because the story wasn't a good one, but because my mind was constantly wandering to the things other than what was happening on the pages (this is not to say this was a boring book...it's more a testimony to how much I stress about life in general). A fairly long read, "Weaveworld" takes your full attention to really get into. But if you can manage to immerse yourself, it's well worth the time.

Neil Taylor

I haven't read this since I was about 14, but the main premise, of there being a whole world and people woven into a rug that survives centuries and is a sanctuary for the pursued inhabitants, still captures my imagination. I should read this again.


This is one of my very favorite books. I don't usually reread books, but I do with Weaveworld. It is so imaginative and fantastic - imagine the coolest, craziest rug you've ever seen. Then imagine that it's actually a world, whose magical inhabitants wove themselves into the rug to hide themselves from The Scourge, which seeks to destroy them.A rather silly British fellow has a few of these magical people appear from a torn segment of the rug, and he's off on the most intense adventure...

Thea Guanzon

Utterly enchanting. Sensual and twisted. One of the most complex fantasy novels I've ever read, brimming with socio-political, moral and religious themes ingrained into a thrilling plot. A story where every character is given, not just a name and a face, but life as well. This is perhaps the only book where I've gone from hating someone's guts (in this case, Hobart) to fangirling the hell out of him. Weaveworld has no clear-cut villains, and that is partly what makes it such a powerful work. Villains are people, too. The prose is incandescent, although a bit too verbose for my liking; it strikes me as Tolkien mellowed out by Gaiman. It's a bit daunting to take in, due to the breakneck, unapologetic pace at which Barker introduces new characters and plot points, but it's worth every moment. I love how Barker reconciles random bits of mythology and geography into a truly awesome experience. This book made me remember why I read fantasy.


I've bailed on this book. I wanted to like it. I read the introduction and the theme appeals to me. But Barker's statement that critics thought his imagination too dark for the genre seems just a little self-aggrandizing. There was plenty of dark fantasy even in 1987, and of course it abounds now. Unfortunately, I couldn't read about the sisters without visualizing something out of a Tim Burton animation. And I think the true problem is that Barker wrote a fantasy novel without being a reader of fantasy. He spends too much time explaining the motivations of his logical, reality-grounded protagonists to an audience that expects to step into another reality (and gets impatient otherwise). And so much of the invention just seemed to be for invention's sake.


Barker's version/vision of "The garden of Eden" totally rocked! He's a genius. This was my first Clive Barker book and I've been a devoted fan of all his work ever since. Weaveworld is a nonstop thrill ride from beginning to end; with staggering twists, sharp turns, and sudden dips. Poor Cal and Suzanna, if it wasn't one thing it was another. It seemed like those two didn't get one iota of peace throughout the yarn, but in the end, all their struggles were well worth it. Like Imajica, Barker really knows how to bring his worlds to life: they are so colorful (in every implication of the word) and vivid that they just pull you right in to its many folds. Weaveworld is such an incredible story, that I don't think my words give it the justice it deserves.

aPriL purrs 'n hisses

I got to page 350, and then I skimmed to the end. What a waste of trees. I'm so sorry I started this. It's a fever dream journal written by a Christian. It's 700 pages too long.(view spoiler)[Everything in existence is an idea made manifest in the Gyre, which is guarded by Uriel, a masterless angel. Humans are compost meat who love magic and who have great difficulty seeing different planes of realities clearly. Magic must be saved because it's neat to see. Magical beings are too stupid to live. Heaven is a compost pile. Shadwell is the Devil, a salesman of desire, whose purpose is to scare and chase, in other words, a faithless hound dog. Uriel goes insane from loneliness, but when the lining of a coat creates Uriel's twin, he is sane again and leaves earth to go traveling in the universe. The purpose of people is 1., to be compost for new life creations, and 2., to provide life force power that enables coat linings to create Angels. Earth is saved from magic for magic.(hide spoiler)]The book is shot through with the illogic of circular thinking. Magic must be saved because it's cool, but the earth would not be threatened except for magic, for example. Ick ick. ["br"]>["br"]>["br"]>["br"]>["br"]>

Mark Howell

This book is really an enigma. At times fast-paced, at times slow and pontificating... In reality I'd say this book deserves more 3.5-3.75 stars, not quite the full four, but it's definitely closer to 4 than 3.While in general I like Barker's writing style (having finished Mister B Gone well before this book), his pace towards the end takes on a seemingly unhurried "we'll get there when we get there" attitude, which left me frustrated, just like the kid in the back seat during a long road trip: kicking the back of mom's seat yelling, "Are we there yet?! Arewethereyet?! AREWETHEREYET?!"And the answer is...you don't even get there. ;-)As is said in Battlestar Galactica and The Dark Tower series: All of this has happened before, and will happen again.


I have never done this before. I was at page 669 out of 722, a fairly negligible amount of pages left to read, but I just couldn't continue. This book was SO BORING. The concept was cool and the characters were alright (kind of wooden, really), but the writing was just... it was lacking... FIRE, I guess. I was just so hum-drum. There was nothing that drew me to read it. When I first started it, I was into it enough to keep going. I gave it a good hundred pages and it started getting interesting. But when I hit about 450 I started reading it just to finish it. I figured I only had 200 pages to go and I can read about 100 pages an hour or so, especially given the large title pages and etc in this book, but at night when I would go to read, I'd end up on Reddit instead, or I'd write something or I'd do cross stitch! I figured I was just tired. But then today, I had just finished working my ass off all morning for work, so I decided I was going to do a little reading at lunch. I picked up the book, got through 1 page, and decided I would rather LIFT 25 LB GARDEN STONES in the yard than read this book. Now, that sparked a revelation in me, that I really couldn't give a SHIT if the main characters lived, if the scourge got everyone, or if all the Weaveworld raptures dissipated. I have never done this before, but I skipped ahead and the read the last page, and then chucked the book over my bannister. Seriously, this book sucks. I don't know why I keep TRYING Clive Barker. Mister B. Gone was ok and Galilee focused on the wrong characters, so why did I think I would like this one? I've learned my lesson. No More Clive Barker. UGH.


A huge snowstorm left me stranded this weekend at home with no libray books other than a Joseph Smith biography that I really didn't want to read. What's a girl to do? How about read some of the books I own yet have inexplicably not yet read? I've owned this since Eric moved to Canada, and man, that was a long time ago. This was well worth it, and I'm pretty ashamed I let it sit on the shelf for so long. For that matter, why don't I read more Clive Barker anyway? While this is no Imajica, the story of the magical Fugue world that's been woven into a carpet to keep it from the bad guys is still a pretty fair tale. It was certainly entertaining enough by far to keep the weekend from devolving into a Skyrim fugue (did you see what I did there? and I realise that I called it a pretty good yarn at first, which would've been way too much) and it made me yearn for more Barker.

Emma Glaisher

3.5 really. Maybe 4? I thoroughly enjoyed re-reading this, but got annoyed by the numerous typos in the edition I was reading. A well worked out version of 'magic lies alongside us' (cf. Harry Potter - muggles and cuckoos!), with a pleasingly gritty Merseyside backdrop.The idea of the Weave is one of the most original I've ever come across and makes for a real sense of wonder. The maiden/woman/crone trinity of Immacolata and her sisters are chilling (but as I'm getting on a bit I wish the Hag had more to offer than toothless insanity and a modicum of midwifery). I love the way their story was developed even as they faded from the main action.Cal works for me as Everyman, all of us who wish there could be a bit of magic out there. Devoid of much personality, he is still dogged and true. Re-reading after many years, I felt sorry for poor Geraldine, used (and abused?) for her kindness and tea-making but never given more than a glimpse of the Fugue.

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