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Creatures of Light and Darkness

 
Album Review: Creatures of Light and Darkness
 

  • Artist: Jackie Leven
  • Rating: StarStarStarHalf Star
  • Release Date: 2001
  • Type: Lyrics are included with the album
  • Genre: Rock

Review

Jackie Leven returns with an effort that is every bit as poignant and moving as Fairy Tales for Hardmen and as lush and textured as Night Lilies, proving his last album, Defending Ancient Springs, an aberration -- albeit a very fine one that began his successful collaboration with David Thomas -- from his own carved out path as Scott "Soul Brother Number One." Creatures of Light and Darkness is as gorgeously produced as any Leven record, and perhaps more lush than most. A usual, the poetry is beyond the reach of virtually any other songwriter on the planet, with the possible exception of Leonard Cohen, and the tunesmith craft is both accessible and intricately assembled. The set opens with the sound of the wind as it meets the drum and a melodeon (courtesy of David Thomas) in "My Spanish Dad," an up-tempo elegy for Leven's father. He tells his father's story of attending auctions, driving his Cortina, his hard-working countenance, and his flawed but golden heart. There is no judgment, no bitterness, only the acceptance of lineage and passage. With horns covering the refrain, and the large half-Celtic/half-mariachi band carrying Leven's bigger than life vocal. As a pedal steel guitar whines high and lonesome in the background, and mandolins cascade in time with the drums, his reverie isn't maudlin or nostalgic, but a regal tribute to the ghost of a complicated man, now a ghost, who has left his mark indelibly. In the cricket sung intro to "Exit Wound," Leven brings his second thread of the nocturnal tapestry to bear. With a stunning piano intro matching his layered vocals laying out a desolate set of images before Leven slips in with a Leon Ware-styled vocal caressing the backbeat, telling a song of desolation as true and forlorn as a seagull's cry against a gray sky. When Deborah Greenwood's wonderful voice chiming in the chorus: "White bars of heaven are keeping me from you/I know you're living in hell but what can I do." Indeed it carries Leven's own line "If you could look inside you'd see a body without a soul." The track with its soul-music overtones and jazz ostinatos is over before you know it, filling the vibrational silence with desolation. What comes next is perhaps the most controversial and heartfelt song Leven has ever written. "The Sexual Loneliness of Jesus Christ" begins with a synthesizer and a recorded, heavily brogued voice relating a proverb of disappearance before the cut time rhythm carries Leven's "one-two" lyric of Jesus meditating on his bewildering predicament. As the guitars begin to crunch and wail above the mandolins and rhythm section and violins swirling around in the mix like vultures hovering before a final descent, Deborah Greenwood plays the part of Jesus' archetypal lover and mother, the woman, not the virgin: "And I miss my baby/I miss him all through the night/they're gonna kill my baby/and the stars are shining bright." The entire tune disintegrates melody, harmony, and rhythm in a cacophonous roar of electric guitars before entering into a sampled refrain of "Desolation," from the previously heard brogue's throat. In "The Hidden World of She" Leven warns against the betrayal of women in a folk song turned into a Motown-style (á la Marvin Gaye) gospel exhortation. The musical meditations Leven puts forth on the relationships between men and women, and men to themselves, are searing testimonies from the front. That such powerful psychic material can be floated on the wings of such glorious arrangements and exacting songcraft in a minor miracle. Even in the workman-like songs, the care and precision Leven puts into his production and singing raises them above the high-quality bar. A keen example is the bluesy, souled-out "Rainy Day Bergen Women," with David Thomas. It becomes painfully obvious that Leven has listened aplenty to the girl groups of the early '60s. His melodies are erected along classic rock & roll lines, infused with a beautifully unadorned Celtic folk strain. Instruments of all types slip in and out of the mix, caressing the guitars and drums that caress his mellifluous voice. When the soul influence becomes overt, Leven makes light of it while pulling it off just the same with swinging pop flourishes and easy, in-the-pocket delivery ("Friendship Between Men & Women"). Leven's records in general, and this one in particular, are doused heavily in ambiences and atmospherics. His textured, intricately-layered production maximizes the emotional transference of his lyric and its delivery. The disc closes with "Wrapped in Blue"; the simplest track on the record is also pointed in its expression of heartbreak and desire, its forlorn loneliness in the midst of a relationship going south. With acoustic guitars and keyboards shimmering in the foreground and strings on the backing matte, Leven states his case plainly and without adornment. This is the other side of his single from the last album, "Universal Blue." This is the moment that leads to separation and anguish, and Leven puts it across better than any songwriter since Gaye did on the Here, My Dear album. I wish soul-jazz guitarist Phil Upchurch were caressing Leven's devastated, grief-stricken vocal with his rounded serpentine lines, but that's just personal preference and 20/20 hindsight. Two final points about this record are painfully obvious: the wide-ranging use of Greenwood's voice on this album sets it apart from all of Leven's other work -- even the records she appears on. Like Lotte Lenya, the legendary German singer, Greenwood's voice is plaintive and detached; at times it feels almost untrained. But it is far from raw: its coolness is sensual and a perfect counterpart to Leven's own very expressive instrument. The other thing is her diction: it's phenomenal. Greenwood is so necessary because she lends intense focus to the emotional nature of each track; she brings Leven's lyrical and vocal loping to a still point and lets it take root. Leven is an artist that takes great care to produce artistic yet very accessible pop records of uncompromising quality and merit -- musically and lyrically. In addition, he is a better singer than any male vocalist out there, bar none, and has an extensive back catalog. Yet he remains a marginal figure among the populace in his native British Isles, making his living primarily in the Netherlands and Germany. But the most puzzling question of all is why he remains a completely unknown figure on this side of the Atlantic, where we lavish accolades and awards on many pop stars that unwittingly attempt to do, on some small scale, a version of what Leven does without an ounce of the class or ability. (It would not be a stretch to think of Leven as a songwriting Frank Sinatra of the Celtic soul set.) Until this changes, however, lift a glass or two to celebrate the monumental achievement that is Creatures of Light and Darkness. ~ Thom Jurek, All Music Guide

Tracks

Track TitleComposersPerformersTime
My Spanish Dad Jackie Leven Jackie Leven (5:43)
Exit Wound Jackie Leven Jackie Leven (6:28)
The Sexual Loneliness of Jesus Christ Jackie Leven Jackie Leven (6:19)
Hidden World of She Jackie Leven Jackie Leven (5:03)
Billy Ate My Pocket Jackie Leven Jackie Leven (7:25)
Rainy Day Bergen Women Jackie Leven Jackie Leven (9:13)
Friendship Between Men and Women Jackie Leven Jackie Leven (5:41)
Stopped by Woods on a Snowy Evening Robert Frost Jackie Leven (3:27)
Washing by Hand Jackie Leven Jackie Leven (5:30)
Wrapped Up in Blue Jackie Leven Jackie Leven (5:39)

Credits

David Thomas (Vocals), David Thomas (Text), David Thomas (Melodeon), John Dawson Read (Guitar (Bass)), John Dawson Read (Sampling), John Dawson Read (Editing), John Dawson Read (Pre-Production), David Blackman (Mastering), Jackie Leven (Guitar), Jackie Leven (Percussion), Jackie Leven (Vocals), Jackie Leven (Producer), Jackie Leven (Main Performer), Jackie Leven (Mixing Supervision), Jackie Leven (Mixing Direction), Graham Preskett (Harmonica), Graham Preskett (Mandolin), Graham Preskett (Violin), Graham Preskett (Vocals), Graham Preskett (Mandola), Henry Priestman (Clarinet), John Read (Bass), John Read (Sampling), John Read (Editing), John Read (Pre-Production), Mike Cosgrave (Trumpet), Mike Cosgrave (Accordion), Mike Cosgrave (French Horn), Mike Cosgrave (Keyboards), Andy Diagram (Trumpet), Fin Costello (Photography), Avril Jamieson (Laughs), Andrew Swainson (Design), Deborah Greenwood (Vocals), Joe Shaw (Guitar), Joe Shaw (Telecaster), Steve Jackson (Percussion), Steve Jackson (Drums), Steve Jackson (Bells), David Wrench (Engineer), David Wrench (Chant), David Wrench (Mixing), Michael Weston King (Vocals), Nelson Medina (Cover Photo)
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Wikipedia: Creatures of Light and Darkness
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Creatures of Light and Darkness  

Cover of first edition (hardcover)
Author Roger Zelazny
Cover artist James Starrett
Country United States
Language English
Genre(s) Science fiction novel
Publisher Doubleday
Publication date 1969
Media type print (hardcover & paperback)
Pages 187 pp
ISBN 0-575-07344-6

Creatures of Light and Darkness is a 1969 science fiction novel by Roger Zelazny. It is currently out of print, and a reprint promised for the end of 2006 has not appeared. It has been reprinted so many times that a given copy has accumulated numerous typographical errors, due to re-keyboarding the entire text at each printing, with minimal proofreading and no editing. It shares this property with paperback reprints of the original Dune novel.

Contents

Plot introduction

The novel is set in the far future, with humans on many worlds. Some have god-like powers, or perhaps are gods — the names and aspects of various Egyptian Gods are used. Elements of horror and technology are mixed, and it has points in common with Cyberpunk.

Creatures of Light and Darkness was originally conceived and written as nothing more than a writing exercise in perspective by Roger Zelazny, yet when published turned into one of Zelazny's more popular books.

Unlike other books by Zelazny, such as Lord of Light or the The Chronicles of Amber series, this novel is more poetic in style, and contains less straightforward action. However, like other novels, Zelazny incorporates ancient myth, in this case from Egyptian and some Greek myth, and weaves ultra-futuristic technology with fantasy elements.

Plot summary

Background

The Universe was once ruled by the god Thoth, who administered the different forces in the Universe to keep things in balance. In time, he delegated this administration to his "Angels" (other god-like beings), who were each in charge of different "stations", or forces in the Universe. Such stations included the House of the Dead, the House of Life, the House of Fire, and so on.

At some point, Thoth had awakened a dormant, malevolent force on a distant planet. This dark force, called the Thing That Cries In The Night, is so powerful and malevolent that it nearly obliterated Thoth's wife and threatens to consume the galaxy. Thoth works to contain and destroy the creature, and in so doing, neglects his duties in maintaining the Universe. The Angels become rebellious and use the power vacuum to fight amongst themselves for dominance

Thoth's son Set, who through an anomaly in Time is also his father, fights the creature across a devastated planet. Just as Set is about to destroy the creature, he is attacked by the Angel Osiris, who unleashes the Hammer That Smashes Suns, a powerful weapon that nearly kills Set and the creature. Thoth's brother, Typhon, who was helping Set in the battle, vanishes without a trace and is presumed dead. (Typhon appears as a black horse-shadow, without a horse to cast it. He contains within himself something called Skagganauk Abyss, which resembles a black hole, not a term in common use at the time.)

The Thing That Cries In The Night survived the blast, and so Thoth, who has meanwhile been utterly overthrown by his Angels, has no choice but to contain the dark force until he can find a way to destroy it. He also revives the personality of his wife and keeps her safe on a special world known only to him, where the seas are above the atmosphere, not below them. He also scatters Set's weapons and armor across the Universe for safe-keeping in the event that Set can ever be found. Having been overthrown, he is now dubbed The Prince Who Was A Thousand by all in the Universe.

Some of the surviving Angels either hide among the peoples of the Universe as mysterious "immortals", but others—Osiris and Anubis—take over the House of Life and the House of Death, respectively. Other stations are abandoned, and Osiris and Anubis are the only two powers in the Universe now. Osiris cultivates life where he can, while Anubis works to destroy it. Plenty and famine, proliferation and plague, overpopulation and annihilation, alternate in the Worlds of Life between the two Stations, much to the detriment of those who inhabit them.

Places

The geography of this universe contains several curious places:

  • The House of Life, ruled by Osiris, contains a room in which Osiris has reduced various people in his past into furnishings. These furnishings can speak (or scream) via wall-mounted speakers.
    • A skull (with brain) for a paperweight.
    • An enemy whose nervous system is woven into a rug. Osiris enjoys jumping on the rug.
  • In the House of the Dead, numerous dead people of the Six Intelligent Races lie on invisible catafalques until Anubis requires them to go through the motions of pleasure—eating, drinking, dancing, making love—without any real enjoyment. Anubis likes to watch. He also stages fights between champions from the Six Races: sometimes the victor gets a job—and a name.
  • The planet Blis is filled to bursting with people who are inexhaustibly fertile and do not know death: the whole planet is covered with 14 interlocking cities. Indeed, one man agrees to commit suicide in front of an audience, for money to be given to his family, because most people on Bliss have never seen a death. He does so by self-immolation, after receiving the Possibly Proper Death Litany (also called the Agnostic's Prayer).
  • On fog-shrouded D'donori, warlords raid each others solely to capture prisoners, who will be vivisected by the town scrier, or augur. By examining their entrails, he predicts the future and answers questions.
  • On an unnamed planet, the sea is above the atmosphere. Here, the Prince Who Was a Thousand keeps Nephthys, his wife, who was disembodied and cannot survive on a normal planet.
  • In a cave, a dog worries a glove that has seen better centuries. The three-headed canine is apparently Cerberus.
  • On another planet, drug-maddened spearmen guard, and castrated priests worship, a pair of old shoes.

Curiosities

In one scene, a "scrier" (or augur) tries to read the future by disemboweling and examining the entrails of a professional rival. He misses an important detail, and his victim screams "They are my innards! I will not have them misread by a poseur!"

Wakim, also known as Set the Destroyer, seeks the gear he lost a thousand years ago. One item (which has seen better centuries) is currently hidden in a cave and guarded by a three-headed dog.

Osiris has reduced old enemies, lovers, and others to elementary forms. He holds the skull (and brain) of a former lover in his hands. She taunts him until he throws her skull against the wall, smashing it and giving his victim release from further torment.

Osiris has captured another enemy and woven his nervous system into the fabric of a rug. He amuses himself by jumping up and down on it, listening to the screams of his victim via loudspeakers on the walls.

The blind Norns, the best smiths in the universe, await the arrival of Thoth, for whom they have built the Star Wand, a powerful weapon. Their fee: artificial eyes, which Thoth will install himself, because he is a skilled surgeon. He is also a skilled anesthetist. Unfortunately, the Norns are physiologically incapable of unconsciousness, so each begs to be operated on last. There is considerable screaming. After each has received his new eyes, he lovingly regards his tools, until his neighbors, envious of his advantage, blind him, as is their legal right.

The Steel General (like the Tin Woodman) has had his organic body replaced with stainless steel, but wears a ring made from his last hide of skin. He has alternated many times between flesh and metal: in flesh phases, he wears a steel ring, from his last metal skin; in metal phases, he wears a leather ring made from his last organic skin. He rides an eight-legged mechanical horse with diamond hooves and plays a banjo. He is the spirit of rebellion, which can never be killed. He may be an avatar of Pete Seeger or Woody Guthrie.

The Steel General, Set, and some others practice a novel martial art called temporal fugue. A fighter, seeing that his enemy is ready to attack, projects himself behind his enemy — in space and in time — so as to strike him from behind. Of course, the enemy does the same thing. When both warriors use the technique, recursively, things get complicated. Each character is replicated over a hundredfold, at various times in the past and future, thus putting a considerable strain on the space-time continuum.

The Agnostic's Prayer

Insofar as I may be heard by anything, which may or may not care what I say, I ask, if it matters, that you be forgiven for anything you may have done or failed to do which requires forgiveness. Conversely, if not forgiveness but something else may be required to ensure any possible benefit for which you may be eligible after the destruction of your body, I ask that this, whatever it may be, be granted or withheld, as the case may be, in such a manner as to insure your receiving said benefit. I ask this in my capacity as your elected intermediary between yourself and that which may not be yourself, but which may have an interest in the matter of your receiving as much as it is possible for you to receive of this thing, and which may in some way be influenced by this ceremony. Amen.

This prayer, also called the Possibly Proper Death Litany, is uttered by one of the main characters, Madrak, to shrive a man about to commit suicide for money (given to his family).

The Agnostic's Prayer is cited by Larry Niven in his short story "What Can You Say About Chocolate-Covered Manhole Covers", where it is used as the sacrament in a formal divorce ceremony.

References

  • Levack, Daniel J. H. (1983). Amber Dreams: A Roger Zelazny Bibliography. San Francisco: Underwood/Miller. pp. 25–26. ISBN 0-934438-39-0. 

External links


 
 

 

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Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Creatures of Light and Darkness" Read more