Gardens of the Moon, the first book in the Malazan Book of the Fallen series by Steven Erikson, introduces readers to a sprawling epic fantasy world filled with complex characters and intricate plots. The narrative follows the Malazan Empire’s military campaign against the city of Darujistan, exploring themes of ambition, power, and the consequences of war. Key characters include Ganoes Paran, a young officer, and Anomander Rake, a powerful Tiste Andii lord. This novel is essential for fans of high fantasy and those interested in deep world-building and character development. Published in 1999, it sets the stage for a rich series that challenges conventional storytelling in fantasy literature.

Key Points

  • Explores the military campaign of the Malazan Empire against Darujistan.
  • Introduces key characters like Ganoes Paran and Anomander Rake.
  • Examines themes of ambition, power, and the consequences of conflict.
  • Sets the foundation for the expansive Malazan Book of the Fallen series.
newtopiccyclegrowin
Author:Steven Erikson
728 pages
Language:English
Type:Book
Fantasy
newtopiccyclegrowin
Author:Steven Erikson
728 pages
Language:English
Type:Book
Fantasy
newtopiccyclegrowin
Author:Steven Erikson
728 pages
Language:English
Type:Book
Fantasy
347

Gardens of the Moon by Steven Erikson pdf

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Preface to Gardens of the Moon redux
There is no point in beginning something without ambition. In so many
aspects of my life I have held to that notion, and it has led to more than one
fiery crash through the years. I still recall, with some bitterness, the
response Cam (Ian C. Esslemont) and I received when flogging our co-
written feature film and television scripts : “Wonderful ! Unique ! Very
funny, very dark… but here in Canada, well, we just can’t budget for this
stuff. Good luck.” In many ways, it was what followed by way of advice
that proved the most crushing. “Try something… simpler. Something like
everything else out there. Something less… ambitious.”
We’d walk out of meetings frustrated, despondent, baffled. Did we really
hear an invitation to mediocrity ? Sure sounded like it.
Well, screw that.
Gardens of the Moon. Just to muse on that title resurrects all those
notions of ambition, all that youthful ferocity that seemed to drive me
headlong against a wall time and again. The need to push. Defy convention.
Go for the throat.
I like to think I was entirely aware of what I was doing back then. That
my vision was crystal clear and that I was actually standing there, ready to
spit in the face of the genre, even as I reveled in it (for how could I not ? As
much as I railed against the tropes, I loved reading the stuff). Now, I’m not
so sure. It’s easy to ride on instinct in the moment, only to look back later
and attribute cogent mindfulness to everything that worked (while ignoring
everything that didn’t). Too easy.
In the years and many novels since, certain facts have made themselves
plain. Beginning with Gardens of the Moon, readers will either hate my
stuff or love it. There’s no in-between. Naturally, I’d rather everybody loved
it, but I understand why this will never be the case. These are not lazy
books. You can’t float through, you just can’t. Even more problematic, the
first novel begins halfway through a seeming marathon – you either hit the
ground running and stay on your feet or you’re toast.
When challenged with writing this preface, I did consider for a time using
it as a means of gentling the blow, of easing the shock of being dropped
from a great height into very deep water, right there on page one of Gardens
of the Moon. Some background, some history, some setting of the stage.
I’ve since mostly rejected the idea. Dammit, I don’t recall Frank Herbert
doing anything like that with Dune, and if any novel out there was a direct
inspiration in terms of structure, that was the one. I’m writing a history and
fictional or not, history has no real beginning point ; even the rise and fall
of civilizations are far more muddled on the front and back ends than many
people might think.
Gardens of the Moon’s bare bones first saw life in a role-playing game.
Its first draught was as a feature film co-written by the two creators of the
Malazan world, myself and Ian C. Esslemont ; a script that languished for
lack of interest (’we don’t do fantasy films because they suck. It’s a dead
genre. It involves costumes and costume dramas are as dead as Westerns’ –
all this before a whole slew of production companies shoved that truism in
their faces, all this long before Lord of the Rings hit the big screen).
And that was just it. We were there. We had the goods, we knew that
Adult Epic Fantasy was film’s last unexplored genre – we didn’t count
Willow, which only earned merit in our eyes for the crossroads scene ; the
rest of the stuff was for kids through and through. And all the other films
coming out in that genre were either B flicks or egregiously flawed in our
eyes (gods, what could have been done with Conan !). We wanted a Fantasy
version of The Lion in Winter, the one with O’Toole and Hepburn. Or The
Three Musketeers adaptation with Michael York, Oliver Reed, Raquel
Welch, Richard Chamberlain, etc, just add magic, mates. Our favourite
television production was Dennis Potter’s The Singing Detective, the
original one with Gambon and Malahyde. We wanted sophisticated shit,
you see. We were pushing Fantasy in that sizzling, scintillating context of
jaw-dropping admiration. We were, in other words, as ambitious as hell.
Probably, too, we weren’t ready. We didn’t quite have the stuff. Thinking
past our abilities, trapped in the lack of experience. The curse of the young.
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Gardens of the Moon by Steven Erikson — Gardens of the Moon (1999)

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FAQs

What themes are explored in Gardens of the Moon?
Gardens of the Moon explores themes of ambition, complexity in storytelling, and the nature of history. The author, Steven Erikson, reflects on the challenges of writing a dense narrative that invites readers to engage deeply with the material. He emphasizes the importance of ambition in storytelling, suggesting that a desire to push boundaries can lead to both success and frustration. Additionally, the narrative structure mirrors the complexities of history, presenting events without a clear beginning, thus inviting readers to navigate through the intricacies of the Malazan world.
Who are the main characters introduced in Gardens of the Moon?
The main characters introduced in Gardens of the Moon include Whiskeyjack, the sergeant of the Bridgeburners; Kalam, an ex-Claw assassin; and Quick Ben, a mage with a mysterious past. Other notable characters include Tattersail, a cadre sorceress, and Tayschrenn, a rival mage. These characters are part of the Malazan Empire's military and magical factions, each contributing to the intricate plot and the overarching conflicts within the story.
How did Gardens of the Moon originate?
Gardens of the Moon originated from a role-playing game and was initially conceived as a feature film script co-written by Steven Erikson and Ian C. Esslemont. The script faced rejection due to the perception that fantasy films were not viable. This led Erikson to adapt the script into a novel, which involved significant reworking to develop the backstory, characters, and setting that were initially lacking in the original script.
What challenges did Erikson face while writing Gardens of the Moon?
Erikson faced several challenges while writing Gardens of the Moon, particularly in balancing ambition with reader accessibility. He recognized that the narrative's complexity could alienate some readers, as it begins without a traditional introduction or exposition. Erikson grappled with the need to provide context while refusing to simplify the story, ultimately deciding to invite readers to engage with the material at a deeper level.
What is the significance of the title Gardens of the Moon?
The title Gardens of the Moon reflects the themes of ambition and the exploration of a fantastical world. It evokes a sense of mystery and complexity, suggesting a setting that is both beautiful and fraught with challenges. The title encapsulates the essence of the narrative, inviting readers into a richly constructed universe that defies conventional storytelling and encourages a deeper engagement with its characters and history.
How does Erikson describe his writing style in Gardens of the Moon?
Erikson describes his writing style in Gardens of the Moon as fast-paced yet dense, characterized by a refusal to simplify the narrative for readers. He aims for exposition that serves multiple functions, adding layers to the story rather than merely providing background information. This approach creates a complex reading experience that challenges readers to stay engaged and think critically about the unfolding events and character motivations.
What was the initial reception of Gardens of the Moon?
The initial reception of Gardens of the Moon was mixed, with some publishers finding it too complicated and ambitious. Erikson faced challenges in securing a publisher, as many believed the book's complexity and the number of characters would deter readers. Despite this, the novel eventually found a place in the market, appealing to those who appreciated its depth and willingness to defy genre conventions.

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