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Eternal Champion #13
Legends from the End of Time
Contents:
•Pale Roses • [Tales from the End of Time • 1] • (1974) • novelette by Michael Moorcock
•White Stars • [Tales from the End of Time • 2] • (1975) • novelette by Michael Moorcock
•Ancient Shadows • [Tales from the End of Time • 3] • (1975) • novella by Michael Moorcock
•Constant Fire (Excerpt) • (1978) • shortfiction by Michael Moorcock
•Elric at the End of Time • [Tales from the End of Time • 5] • (1981) • novelette by Michael Moorcock
•Pale Roses • [Tales from the End of Time • 1] • (1974) • novelette by Michael Moorcock
•White Stars • [Tales from the End of Time • 2] • (1975) • novelette by Michael Moorcock
•Ancient Shadows • [Tales from the End of Time • 3] • (1975) • novella by Michael Moorcock
•Constant Fire (Excerpt) • (1978) • shortfiction by Michael Moorcock
•Elric at the End of Time • [Tales from the End of Time • 5] • (1981) • novelette by Michael Moorcock
496 pages, Paperback
First published January 1, 1976
8 people are currently reading
647 people want to read
About the author
Michael Moorcock
1,194 books3,660 followersMichael John Moorcock is an English writer primarily of science fiction and fantasy who has also published a number of literary novels.
Moorcock has mentioned The Gods of Mars by Edgar Rice Burroughs, The Apple Cart by George Bernard Shaw and The Constable of St. Nicholas by Edward Lester Arnold as the first three books which captured his imagination. He became editor of Tarzan Adventures in 1956, at the age of sixteen, and later moved on to edit Sexton Blake Library. As editor of the controversial British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States. His serialization of Norman Spinrad's Bug Jack Barron was notorious for causing British MPs to condemn in Parliament the Arts Council's funding of the magazine.
During this time, he occasionally wrote under the pseudonym of "James Colvin," a "house pseudonym" used by other critics on New Worlds. A spoof obituary of Colvin appeared in New Worlds #197 (January 1970), written by "William Barclay" (another Moorcock pseudonym). Moorcock, indeed, makes much use of the initials "JC", and not entirely coincidentally these are also the initials of Jesus Christ, the subject of his 1967 Nebula award-winning novella Behold the Man, which tells the story of Karl Glogauer, a time-traveller who takes on the role of Christ. They are also the initials of various "Eternal Champion" Moorcock characters such as Jerry Cornelius, Jerry Cornell and Jherek Carnelian. In more recent years, Moorcock has taken to using "Warwick Colvin, Jr." as yet another pseudonym, particularly in his Second Ether fiction.
Moorcock has mentioned The Gods of Mars by Edgar Rice Burroughs, The Apple Cart by George Bernard Shaw and The Constable of St. Nicholas by Edward Lester Arnold as the first three books which captured his imagination. He became editor of Tarzan Adventures in 1956, at the age of sixteen, and later moved on to edit Sexton Blake Library. As editor of the controversial British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States. His serialization of Norman Spinrad's Bug Jack Barron was notorious for causing British MPs to condemn in Parliament the Arts Council's funding of the magazine.
During this time, he occasionally wrote under the pseudonym of "James Colvin," a "house pseudonym" used by other critics on New Worlds. A spoof obituary of Colvin appeared in New Worlds #197 (January 1970), written by "William Barclay" (another Moorcock pseudonym). Moorcock, indeed, makes much use of the initials "JC", and not entirely coincidentally these are also the initials of Jesus Christ, the subject of his 1967 Nebula award-winning novella Behold the Man, which tells the story of Karl Glogauer, a time-traveller who takes on the role of Christ. They are also the initials of various "Eternal Champion" Moorcock characters such as Jerry Cornelius, Jerry Cornell and Jherek Carnelian. In more recent years, Moorcock has taken to using "Warwick Colvin, Jr." as yet another pseudonym, particularly in his Second Ether fiction.
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Displaying 1 - 24 of 24 reviews
May 16, 2020
When Truth Meets Reality
There is a school of idealist philosophy which holds that truth is that which will be known just before the end of time. At that apocalyptic point, mind will have grasped all that is possible to understand. Religious folk call this point the eschaton, the end of the world at which God will be revealed, a view which has the same practical import: truth finally will coincide with reality.
Moorcock takes this business of the eschaton seriously. Well, seriously in a somewhat slapstick way. A time traveller and her young son undertake an educational jaunt as far into the future as their machine will take them, that is until it runs out of time. What they find there is simultaneously expected and disconcerting.
On the one hand, just as would be anticipated by any scientifically based society, the universe is clearly suffering its inevitable heat death. Entropy rules. And it is clear that the mere existence of human minds has accelerated this process. The energy differentials of even the most distant galaxies have been tapped relentlessly to maintain the physical requirements for thought.
But what the time travellers don’t expect is that truth has not emerged at all in the way they had expected. As quasi-Puritans whose lives are regulated by an encyclopaedia of maxims, they are shocked to find that the human beings at the end of time are engaged in a kind of free-for-all block party. The ‘neighbours’ are wildly diverse in the ‘truths’ they hold; but they are joyously united in their diversity. Reality, it turns out, has properly been a matter of opinion.
The most disturbing aspect of this diversity (or uncertainty, if one prefers) is the pervasive hedonism of the final world, particularly as it is represented in art. Eschatological tastes apparently run from the kitsch to the classical, from the banal to the bizarre. In fact what little energy differential that remains is expended on spectacular air shows and other ostentatious communal displays. Humanity (consciousness, thought, rationality, mind - whichever one prefers to call the phenomenon) is going out with a bang, as typically wasteful of its resources as it has ever been.
The implication is clear. This is the point of it all, of existence. The authentic eschatological vision is one of artistic fecundity, of wildly different interpretations of existence, just for the sake of it. By the time of the final Trump, as it were, we will all be artists, each with our own unique appreciation of reality. Truth will not converge to some tedious uniformity but rather explode into eccentric, ephemeral splendour.
In Moorcock’s vision humanity is finally at ease with itself and with its fate. There is no disease. There is no fear, even of the impending End. “Evil is a word, an idea, which has very little resonance at the End of Time,” says one of its chief residents (except of course the “pale imitation of art”). There is no violence, only a light-hearted tolerance of the inherent strangeness of others. As eschatological visions go, this one seems rather attractive. As one of the end-time characters says: “What a splendid ending,”
But for those unprepared: “Beware the Future.”
There is a school of idealist philosophy which holds that truth is that which will be known just before the end of time. At that apocalyptic point, mind will have grasped all that is possible to understand. Religious folk call this point the eschaton, the end of the world at which God will be revealed, a view which has the same practical import: truth finally will coincide with reality.
Moorcock takes this business of the eschaton seriously. Well, seriously in a somewhat slapstick way. A time traveller and her young son undertake an educational jaunt as far into the future as their machine will take them, that is until it runs out of time. What they find there is simultaneously expected and disconcerting.
On the one hand, just as would be anticipated by any scientifically based society, the universe is clearly suffering its inevitable heat death. Entropy rules. And it is clear that the mere existence of human minds has accelerated this process. The energy differentials of even the most distant galaxies have been tapped relentlessly to maintain the physical requirements for thought.
But what the time travellers don’t expect is that truth has not emerged at all in the way they had expected. As quasi-Puritans whose lives are regulated by an encyclopaedia of maxims, they are shocked to find that the human beings at the end of time are engaged in a kind of free-for-all block party. The ‘neighbours’ are wildly diverse in the ‘truths’ they hold; but they are joyously united in their diversity. Reality, it turns out, has properly been a matter of opinion.
The most disturbing aspect of this diversity (or uncertainty, if one prefers) is the pervasive hedonism of the final world, particularly as it is represented in art. Eschatological tastes apparently run from the kitsch to the classical, from the banal to the bizarre. In fact what little energy differential that remains is expended on spectacular air shows and other ostentatious communal displays. Humanity (consciousness, thought, rationality, mind - whichever one prefers to call the phenomenon) is going out with a bang, as typically wasteful of its resources as it has ever been.
The implication is clear. This is the point of it all, of existence. The authentic eschatological vision is one of artistic fecundity, of wildly different interpretations of existence, just for the sake of it. By the time of the final Trump, as it were, we will all be artists, each with our own unique appreciation of reality. Truth will not converge to some tedious uniformity but rather explode into eccentric, ephemeral splendour.
In Moorcock’s vision humanity is finally at ease with itself and with its fate. There is no disease. There is no fear, even of the impending End. “Evil is a word, an idea, which has very little resonance at the End of Time,” says one of its chief residents (except of course the “pale imitation of art”). There is no violence, only a light-hearted tolerance of the inherent strangeness of others. As eschatological visions go, this one seems rather attractive. As one of the end-time characters says: “What a splendid ending,”
But for those unprepared: “Beware the Future.”
February 4, 2017
Well there's not much to say other than another delight. If you enjoy old Bogart movies than this book is priceless for one of the most amusing wall decor descriptions ever; an event from ancient history, (by their standards), of Sam the one eyed man and his Spade taking on the Malted Falcon. That's only part of it.
A surefire delight.
A surefire delight.
March 22, 2020
Ova zbirka prica dobiva ocjenu 5 zbog dvije price koje su mi stvarno odlicne bile, mozda skoro kao i Behold the Man. A te price su Blijede Ruze i Drevne Sjene. Ostale price su isto dobre, ali ne toliko kao ove. U zadnjoj prici, glavni lik je Elric i nekako je fino zamislio i njegov dolazak na Kraj Vremena.
Ali eto, prva prica o Vertheru i djevojcici wow, toliko duboko ide, ma super. Takodjer i prica Drevne Sjene o majci i sinu koji dodju vremeplovom na Kraj vremena, sa svojim uvjerenjima i zastitnickim odnosom za svoga sina, dok Kraj vremena nudi SVE.
Ma eto, odlicna zbirka.
Ali eto, prva prica o Vertheru i djevojcici wow, toliko duboko ide, ma super. Takodjer i prica Drevne Sjene o majci i sinu koji dodju vremeplovom na Kraj vremena, sa svojim uvjerenjima i zastitnickim odnosom za svoga sina, dok Kraj vremena nudi SVE.
Ma eto, odlicna zbirka.
July 18, 2020
Pale Roses • [Tales from the End of Time • 1] • (1974) - 4 Stars
White Stars • [Tales from the End of Time • 2] • (1975) - 5 Stars
Ancient Shadows • [Tales from the End of Time • 3] - 5 Stars
Constant Fire • (1977) - 4 Stars
Elric at the End of Time • [Tales from the End of Time • 5] • (1981) - 3.5 Stars
White Stars • [Tales from the End of Time • 2] • (1975) - 5 Stars
Ancient Shadows • [Tales from the End of Time • 3] - 5 Stars
Constant Fire • (1977) - 4 Stars
Elric at the End of Time • [Tales from the End of Time • 5] • (1981) - 3.5 Stars
August 6, 2021
eh. There is something there. What happens when "Art triumphs over Nature" and there's nothing left that's outside of our control? What does decadence look like when it's turned up to eleven, and how does that look from different perspectives? The characters were pretty good, and I liked the conceit that time travelers all end up tumbling all the way to the end of time. But I like science in my science fiction. I like characters that take things apart to see how they work. Moorcock wasn't interested in talking about how things work. Alright, but there's also the question of mortality. Time will end, dude. What do you do about that? Give us an answer, author, come on.
June 22, 2013
They're back! Those wacky hedonists Moorcock first wrote about in the trilogy Dancers at the End of Time. Those novels were published between 1972 and 1976. Legends has had various incarnations The 1976 Daw paperback I read contains three stories, but later editions have additional material.
Moorcock's end of time is P.G. Wodehouse crossed with Douglas Adams and something more sinister that he himself brings to the mix. I am not sure how much sense any of what happens in the stories would make to some one not familiar with the novels. Moorcock tosses in some background material by way of explanation, but the reader is pretty much expected to already understand the situation Earth is in these millions of years in the future. The population, as far as we can tell, has been reduced to a handful of humans who can alter the landscape as easily as they can change their hair color. They have adopted high-sounding names of dukes and lords and ladies and live a life dedicated to entertainments put on for one another. They are bored, thoughtlessly cruel, supremely self-satisfied. They have their internal disputes, some desultory love affairs, and just go on. Even death, if dealt with quickly enough, is merely a temporary inconvenience. The planet is dead and on life support from machines that still function in the ancient cities, machines that can suck the energy from entire star systems. This leaves the night sky, when they choose to make it visible, barely dusted with stars.
Time travelers and the occasional alien provide much of their entertainment. Those who don't mix in well get put in menageries. Going home is not an option because of something called the Morphail Effect. It seems the past doesn't want you back and is likely to reject you like a transplanted organ. In one story a squadron of soldiers fighting Earth's war against Alpha Centauri find themselves among this fun-loving batch. Their resolve to keep in training for a war that has ended, in our favor, thousands of years in the past, is slowly eroded by the pleasures on hand. In the longest story, Daphins Armatuce, from the 24th century, arrives with her son, a sixty-year-old known as Snuffles. She comes from a time that has only recently survived a near extinction event, and she lives by a spartan, secular, puritanism. She is outraged by the self-indulgence she witnesses, but can young Snuffles resist the temptations. After all, he is nearing his manhood.
These three stories are entertaining but probably for End-of-Time completists only.
Moorcock's end of time is P.G. Wodehouse crossed with Douglas Adams and something more sinister that he himself brings to the mix. I am not sure how much sense any of what happens in the stories would make to some one not familiar with the novels. Moorcock tosses in some background material by way of explanation, but the reader is pretty much expected to already understand the situation Earth is in these millions of years in the future. The population, as far as we can tell, has been reduced to a handful of humans who can alter the landscape as easily as they can change their hair color. They have adopted high-sounding names of dukes and lords and ladies and live a life dedicated to entertainments put on for one another. They are bored, thoughtlessly cruel, supremely self-satisfied. They have their internal disputes, some desultory love affairs, and just go on. Even death, if dealt with quickly enough, is merely a temporary inconvenience. The planet is dead and on life support from machines that still function in the ancient cities, machines that can suck the energy from entire star systems. This leaves the night sky, when they choose to make it visible, barely dusted with stars.
Time travelers and the occasional alien provide much of their entertainment. Those who don't mix in well get put in menageries. Going home is not an option because of something called the Morphail Effect. It seems the past doesn't want you back and is likely to reject you like a transplanted organ. In one story a squadron of soldiers fighting Earth's war against Alpha Centauri find themselves among this fun-loving batch. Their resolve to keep in training for a war that has ended, in our favor, thousands of years in the past, is slowly eroded by the pleasures on hand. In the longest story, Daphins Armatuce, from the 24th century, arrives with her son, a sixty-year-old known as Snuffles. She comes from a time that has only recently survived a near extinction event, and she lives by a spartan, secular, puritanism. She is outraged by the self-indulgence she witnesses, but can young Snuffles resist the temptations. After all, he is nearing his manhood.
These three stories are entertaining but probably for End-of-Time completists only.
May 17, 2020
There have been several editions of this title with varied contents; my DAW edition contains three stories: Pale Roses, White Stars, and Ancient Shadows, all of which originally appeared in New Worlds Quarterly. They are very nicely written further examinations and illuminations of some of the characters from his Dancers at the End of Time trilogy, which I'd recommend reading prior to this. These stories are wry and well-crafted pieces, with the zaniness of classic Dr. Who mixed with, perhaps, Wodehouse's Jeeves stories.
January 8, 2013
More shenanigans from those wacky EoT residents.
June 22, 2025
Legends from the End of Time was a wild, witty, and wonderfully bizarre ride. Set in a far-distant future where humanity has near-limitless power and time has all but lost meaning, this one is less about plot and more about atmosphere, ideas, and eccentric characters. Moorcock blends absurdity with melancholy in a way that only he can—mixing dry humour, decadent immortals, and existential musings into an oddly touching collection of interlinked stories. I loved the creativity and sheer unpredictability of it all. It’s a charming, surreal escape from reality, and if you’re into character-driven sci-fi with a poetic, philosophical edge, it’s definitely worth the read.
August 27, 2019
Not a big Moorcock fan, tbh. He seemed—seems! I guess, since he's still with us—to be concerned largely with decadence, and that's not a state that has much appeal to me. But, hey, I knew that going in, and I can't blame Moorcock for being Moorcock. And he's a fine writer, writing about something that is, at best, a slippery version of reality.
It's sort of sci-fi but it's well past Clarke's third law so these may as well stories of all-powerful wizards living at the literal end of time, were nothing matters and the inhabitants of Earth chase mindless trends for their amusement. Maybe it's wry social commentary on the '70s, but I don't get much of a vibe of that, thank goodness.
Anyway, this is three stories set on a far future earth populated by dissolute human beings who command nearly unlimited power to do whatever and so they affect various fashions, which they only understand as a confused jumble of misremembered stories from older cultures. Their wan existences are somewhat bolstered by time travelers, because many people from many time periods invent time machines only to discover Time basically only allows forward travel. So they get stuck in the end-of-timers "menageries", kept as amusing guests might be kept in medieval European royal courts.
The first story is about Werther von Goethe, e.g.—and I assume that rhymes—who pines for loss. Any loss, really, because it's hard for people who can create anything (including reviving their companions dead bodies) to experience loss. Hope comes for him in the form of an innocent young girl born on the planet to members of someone's menagerie.
The second story involves a military group on their way to invade a distant star who end up disrupting a fencing duel that the participants have agreed will result in death-without resurrection.
The last story is about a woman from a post-apocalyptic time of spartan asceticism and her young (60-years-old?) son. The abundance of the End Times tests their devotion to the principles of their own time.
They're good stories, certainly worth reading, and I believe this is the second collection. I wouldn't reject reading the first collection but since (as mentioned) it's not really my interest, I probably also wouldn't hunt the other collection(s) down.
It's sort of sci-fi but it's well past Clarke's third law so these may as well stories of all-powerful wizards living at the literal end of time, were nothing matters and the inhabitants of Earth chase mindless trends for their amusement. Maybe it's wry social commentary on the '70s, but I don't get much of a vibe of that, thank goodness.
Anyway, this is three stories set on a far future earth populated by dissolute human beings who command nearly unlimited power to do whatever and so they affect various fashions, which they only understand as a confused jumble of misremembered stories from older cultures. Their wan existences are somewhat bolstered by time travelers, because many people from many time periods invent time machines only to discover Time basically only allows forward travel. So they get stuck in the end-of-timers "menageries", kept as amusing guests might be kept in medieval European royal courts.
The first story is about Werther von Goethe, e.g.—and I assume that rhymes—who pines for loss. Any loss, really, because it's hard for people who can create anything (including reviving their companions dead bodies) to experience loss. Hope comes for him in the form of an innocent young girl born on the planet to members of someone's menagerie.
The second story involves a military group on their way to invade a distant star who end up disrupting a fencing duel that the participants have agreed will result in death-without resurrection.
The last story is about a woman from a post-apocalyptic time of spartan asceticism and her young (60-years-old?) son. The abundance of the End Times tests their devotion to the principles of their own time.
They're good stories, certainly worth reading, and I believe this is the second collection. I wouldn't reject reading the first collection but since (as mentioned) it's not really my interest, I probably also wouldn't hunt the other collection(s) down.
January 14, 2019
This is a book that I loved, and yet can’t ever recommend to anyone as it would entail saying, “Here, this book is great, but before you can understand it you need to read this trilogy of mid-to-mediocre novels.”
The world of the novel is one where all the characters have techno-rings that can change any and all matter based off the wielders’ thoughts, making them effectively gods. Part of the problem with the Dancers at the End of Time trilogy is that all the interesting characters – such as Mistress Christia, the Everlasting Concubine (Who lives to have sex with everyone and has a dozen breasts), Lord Mongrove (A sad hulking giant that lives only to be as miserable as possible and his home is a brooding castle in a storm ravaged land), Lady Charlotina (Lives under lake Billy the Kid, and has rainbow colored skin), Bishop Castle (Obsessed with religion and wears a Pope-hat ten feet tall), Duke of Queens (Makes the most outrageous animal creations, puts wings on everything) – are relegated to the background as they watch the main character travel through time to find true love. So we have this extraordinary world, that is set aside for the most ordinary of stories.
Legends from the End of Time rights this by telling a series of short stories about the characters of this far flung future of the 43rd (I think. Can’t find the actual date) century. They get a chance to strut their stuff and explore what people would do given unlimited power, unlimited decadence, and want for nothing. The twist in Werther de Goethe's story left me stunned and disturbed with its brilliant setup.
The world of the novel is one where all the characters have techno-rings that can change any and all matter based off the wielders’ thoughts, making them effectively gods. Part of the problem with the Dancers at the End of Time trilogy is that all the interesting characters – such as Mistress Christia, the Everlasting Concubine (Who lives to have sex with everyone and has a dozen breasts), Lord Mongrove (A sad hulking giant that lives only to be as miserable as possible and his home is a brooding castle in a storm ravaged land), Lady Charlotina (Lives under lake Billy the Kid, and has rainbow colored skin), Bishop Castle (Obsessed with religion and wears a Pope-hat ten feet tall), Duke of Queens (Makes the most outrageous animal creations, puts wings on everything) – are relegated to the background as they watch the main character travel through time to find true love. So we have this extraordinary world, that is set aside for the most ordinary of stories.
Legends from the End of Time rights this by telling a series of short stories about the characters of this far flung future of the 43rd (I think. Can’t find the actual date) century. They get a chance to strut their stuff and explore what people would do given unlimited power, unlimited decadence, and want for nothing. The twist in Werther de Goethe's story left me stunned and disturbed with its brilliant setup.
April 18, 2010
After the last two books that I’ve read, it was pretty much impossible for this book to be worse. It was ok. Most of the stories in it were a little predictable. It was also more of a companion story to his first End of Time story. I was surprised that he brought back the Fireclown character. From what I’ve read, no liked the stories involving him. He also set up the character of Miss Mavis Ming to be very annoying. That was his intention with her. The problem is that he did the job a little too well. I hated reading about her. I did think that the Elric story was fantastic and very funny. I think that the reactions Elric had to the End of Time were exactly realistic. In the general timeline of the Eternal Champion, this story really had no effect. I do hope to be able to read the last two books in the series, but if I don’t get to, this was a nice little ending.
July 29, 2016
"Pale Roses". A short, shallow story about sin. It almost wins me over with its ending, but before that it never manages to strike enough of a spark to make me sit up and notice [5+/10].
"White Stars". An OK story that repeats some of the main themes of the End of Time, but doesn't have a lot of depth beyond that [5/10].
"Ancient Shadows" The best story in the book, perhaps because it's got more time to breathe, and perhaps because its tragedy is more vibrant and believable. [7/10]
Overall, the three Legends are no Dancers at the End of Time, in part because it feels like the stories lose a lot of their comedy, and in part because they don't have the same depth. Still, they're a nice coda to the series.
"White Stars". An OK story that repeats some of the main themes of the End of Time, but doesn't have a lot of depth beyond that [5/10].
"Ancient Shadows" The best story in the book, perhaps because it's got more time to breathe, and perhaps because its tragedy is more vibrant and believable. [7/10]
Overall, the three Legends are no Dancers at the End of Time, in part because it feels like the stories lose a lot of their comedy, and in part because they don't have the same depth. Still, they're a nice coda to the series.
September 12, 2015
I gave this book 3 stars because it lived up to the free book bin standards that I rescued it from. The cover art & title were ridiculous my 70s and the stories within even stranger. So much of the "future" in this book is an exercise in surreal boredom. I can't tell if the author is trying too hard or not at all. Yet, I was entertained and continued to finish each of the tales. I don't know that I am curious enough to pick up another Moorcock however.
April 22, 2016
Jako jako zanimljiva knjiga.
Ideja i Murkokov stil pisanja su nesvakidasnji.
Pored dobre zabave koju nosi ovo slobodno bih mogao da kazem naucno/epsko, mada po meni vise epsko fantasticno delo, knjiga je i veoma poucna i naterace vas da se malo preispitate kakav to zivot vodite i u komsmeru on ide. Dekadencija, aja dodajem i patetika, najveci su neprijatelji coveka i ljudskoga roda u celini.
Ideja i Murkokov stil pisanja su nesvakidasnji.
Pored dobre zabave koju nosi ovo slobodno bih mogao da kazem naucno/epsko, mada po meni vise epsko fantasticno delo, knjiga je i veoma poucna i naterace vas da se malo preispitate kakav to zivot vodite i u komsmeru on ide. Dekadencija, aja dodajem i patetika, najveci su neprijatelji coveka i ljudskoga roda u celini.
May 10, 2019
Bizarre and imaginative. A time of no limits, no crime and no hard feelings. Only those who travel there have to adapt to the society or be trapped in unwanted torture.
Enjoyable. Once I got used to the style of writing, my mind began to illustrate the scenes and it became a ride.
Enjoyable. Once I got used to the style of writing, my mind began to illustrate the scenes and it became a ride.
August 27, 2009
I honestly think Moorcock's "End of Time" is equal to a book like Dune in its scope and vision.
August 19, 2011
Sadly the only worthy novella of this pack is the third one, too bad, Moorcock could have written so much better stories about the end of times...
Read
July 29, 2011Bonne première nouvelle, le reste un peu plan plan
May 15, 2012
Although it wasn't as good as the first three books, I did really enjoy getting more background story of some of the other characters from the end of time.
September 29, 2022
(If I could give a half star it would be 3 1/2. But I'll round up.)
As I read this book my opinion of it increased.
The world that is presented is very strange. So much so that I found it off-putting. And first impressions of the characters were not encouraging.
But once I kind of "settled in" on the world and the behaviors I enjoyed it more.
There are three stories. The first two were ok. The last was the best. By far.
It's a pretty weird and abstract book. Can't say that I recommend it but I ultimately enjoyed it.
And now, my history with this book... I received this book in my senior year in high school from a history teacher, Mr. Dean. He knew I liked science fiction and when I walked into class he said "Dave, you might like this book" and tossed it to me.
Being a teenager I saw it said "Thanks Mr. Dean. Hey look, Mr. Dean gave me Moorcock! Would you look at that, Moorcock!" To which he probably said something like "Shut up and sit down."
I've carried this book for 45 years. FOURTY FIVE. And I am just now getting around to reading it.
So I'm an adult now and if Mr. Dean is out there I would just like to say... Thanks for the Moorcock, Mr. Dean!
As I read this book my opinion of it increased.
The world that is presented is very strange. So much so that I found it off-putting. And first impressions of the characters were not encouraging.
But once I kind of "settled in" on the world and the behaviors I enjoyed it more.
There are three stories. The first two were ok. The last was the best. By far.
It's a pretty weird and abstract book. Can't say that I recommend it but I ultimately enjoyed it.
And now, my history with this book... I received this book in my senior year in high school from a history teacher, Mr. Dean. He knew I liked science fiction and when I walked into class he said "Dave, you might like this book" and tossed it to me.
Being a teenager I saw it said "Thanks Mr. Dean. Hey look, Mr. Dean gave me Moorcock! Would you look at that, Moorcock!" To which he probably said something like "Shut up and sit down."
I've carried this book for 45 years. FOURTY FIVE. And I am just now getting around to reading it.
So I'm an adult now and if Mr. Dean is out there I would just like to say... Thanks for the Moorcock, Mr. Dean!
August 12, 2022
Rubbish, at best cash-in stories unworthy of the high standard set by the main Dancers At the End of Time trilogy, at worst pointless filler. The exploration of pedophilia and the dismissive treatment of a lesbian character makes this outright ugly at points. Fundamentally, the End of Time setting doesn't really work outside of the context of the core trilogy's story, and there's no compelling reason to explore it beyond that. Full review: https://fakegeekboy.wordpress.com/201...
April 12, 2025
At times silly, rude, but always funny.
The whole thing done with the tongue very firmly in the cheek.
It is entertaining if you happen to have a twisted sense of humour.
Recommended if you fancy something irreverent.
The whole thing done with the tongue very firmly in the cheek.
It is entertaining if you happen to have a twisted sense of humour.
Recommended if you fancy something irreverent.
May 30, 2023
I am not sure about this book. Maybe if I had read the earlier books in the series. I felt I was just getting a feel for the characters when each section ended.
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