347 pages, White Wolf Publishing, ISBN-13:
978-1565041899
Over the course of the mid-to-late 90s, White Wolf Publishing
produced this massive omnibus collection of Michael Moorcock’s “Eternal
Champion” stories, a recurrent aspect in many of his tales. Legends from the
End of Time was the thirteenth in this series featuring a variety of
characters, and includes the tales Pale Roses, White Stars, Ancient Shadows,
Constant Fire and Elric at the End of Time. Now, if you read Moorcock’s The Dancers at the End of Time (reviewed on July 30th, 2024 – and shame on you if you
didn’t), then I really can’t say what your reaction will be to this volume,
seeing as it is mostly a continuation of that earlier work. While the stories
work as stand-alone tales, you really lose something in their telling if you
are not at least a little familiar with the backgrounds of these characters
from Dancers.
Evidently taking time-off
between grandiose Epics, Moorcock here offers a five-novella collection
of stories that all take place in the oh-so-delightfully decadent End of Time
that he introduced in his first collection, The
Dancers at the End of Time. It
pains me to say it, but getting through this collection was, most of the time,
a trial, and I can’t put my finger on just why that is (it also explains why I
haven’t individually reviewed the tales in question, like I did for Dancers; I just don’t have the heart, it would seem). These five stories all take
place in the same time and setting that Dancers did and during the
voyages undertaken by Jherek Carnelian and Amelia Underwood away from
the same (thus, neither character really features in any of the tales, apart
from one character or another referring to them now and then).
The stories themselves take some work, especially seeing that Mavis Ming – a very boring, very real (sadly)
character that is difficult if not impossible to warm to – is at the center of
so much; it’s as if she were the most-annoying character on a reality TV show who
was then given her own spin-off show for no other reason than to desperately
try to make her more relevant. It must be said that, in comparison with much of
Moorcock’s work, Legends from the End of Time displays a lighter
(dare I say, humorous?) touch; one reviewer even described this work as “Woodhouse
crossed with Brecht”; don’t know about that, but anyway…sadly, the turgid
writing style rather limits whatever lightness there may be, so that the
farther you go in the collection the more you feel like you’re running a
marathon through knee-deep mud in iron-banded shoes.
And all the while I kept reading and dragging myself through book
after book, like the demented treasure-hunters on Oak Island, absolutely
convinced that with the next book, the next page, the next paragraph I would
strike gold – but sadly, all for naught; not even the Fireclown was a godsend,
seeing as it was a distortion from the original series. The whole time I read
on through some sense of obligation; I mean, Legends from the End of Time
is book thirteen out of fifteen, and I’ve come this far, haven’t I? While the
whole Eternal Champion mythos is present in a limited form in this work, this
book is more of a side-hustle for Moorcock, a kind of literary attachment to
his other, more grandiose books with their linked-but-separate stories and
mythos. Many characters from those other works appear but, really, these
stories really just feel like filler.
Except for Elric at the
End of Time, which has the honor (?) of being the last Elric story written
by Michael Moorcock (although we all know that isn’t true, don’t we?). In this
story Elric arrives at the End of Time (having accidentally ejected himself
from his native plane during a sorcerous battle; happens to us all, right?) and
naturally assumes that he has ended up in the realm of Chaos. He has the
misfortune of landing in the middle of a vast sculptural installation by
Werther de Goethe, the Last Romantic: a giant skull in which a desert and a
snowscape represent “Man’s Foolish Yearnings…His Greed, his Need for the
Impossible, the Heat of his Passions, the Coldness which must Finally Overtake
him” (the capitals are all Werther’s, which should give you an idea of how pretentious
he is). Moorcock’s vivid imagining of the sybaritic society at the End of Time and
the prose inflected with late Victorian aestheticism and comedy really works in
this story, so different in tone from the other works found in this particular
collection. It’s also fun to see Moorcock send up his own creations with
genuine affection; the juxtaposition of Werther de Goethe’s innocent Sturm und Drang and Elric’s own heartfelt anguish is irresistible.