For Tam to bring it up now meant he had noticed, but he said nothing more about it. Tam clucked Bela into motion once more, and they resumed their journey, the older man striding along as if nothing untoward had happened and nothing untoward could. Rand wished he could imitate him. He tried forming the emptiness in his mind, but it kept slipping away into images of the black-cloaked horseman. He wanted to believe that Tam was right, that the rider had just been his imagination, but he could remember that feeling of hatred too well.
There had been someone. And that someone had meant him harm. The village lay close onto the Westwood, the forest gradually thinning until the last few trees stood actually among the stout frame houses. The land sloped gently down to the east. Though not without patches of woods, farms and hedge-bordered fields and pastures quilted the land beyond the village all the way to the Waterwood and its tangle of streams and ponds.
The land to the west was just as fertile, and the pastures there lush in most years, but only a handful of farms could be found in the Westwood. Some said the land was too rocky, as if there were not rocks everywhere in the Two Rivers, and others said it was hard-luck land. A few muttered that there was no point getting any closer to the mountains than needs be. Whatever the reasons, only the hardiest men farmed in the Westwood. Small children and dogs dodged around the cart in whooping swarms once it passed the first row of houses. Bela plodded on patiently, ignoring the yelling youngsters who tumbled under her nose, playing tag and rolling hoops.
In the last months there had been little of play or laughter from the children; even when the weather had slackened enough to let children out, fear of wolves kept them in. It seemed the approach of Bel Tine had taught them how to play again. Festival had affected the adults as well. Broad shutters were thrown back, and in almost every house the goodwife stood in a window, apron tied about her and long-braided hair done up in a kerchief, shaking sheets or hanging mattresses over the windowsills.
Whether or not leaves had appeared on the trees, no woman would let Bel Tine come before her spring cleaning was done.
The Eye of the World Summary & Study Guide Description
In every yard rugs hung from stretched lines, and children who had not been quick enough to run free in the streets instead vented their frustration on the carpets with wicker beaters. Several times Tam paused to engage one man or another in brief conversation. Since he and Rand had not been off the farm for weeks, everyone wanted to catch up on how things were out that way. Few Westwood men had been in. Tam spoke of damage from winter storms, each one worse than the one before, and stillborn lambs, of brown fields where crops should be sprouting and pastures greening, of ravens flocking in where songbirds had come in years before.
Grim talk, with preparations for Bel Tine going on all around them, and much shaking of heads. It was the same on all sides. People who had to watch the hail beat their crops or the wolves take their lambs, and start over, no matter how many years it happened, did not give up easily. Most of those who did were long since gone.
Tam would not have stopped for Wit Congar if the man had not come out into the street so they had to halt or let Bela run over him. The Congars—and the Coplins; the two families were so intermarried no one really knew where one family let off and the other began—were known from Watch Hill to Deven Ride, and maybe as far as Taren Ferry, as complainers and troublemakers.
He never seemed ready to start over, or to finish what he started the first time. Most of the Coplins and Congars were like that, those who were not worse. And a good harvest. Now you ask her what she hears on the wind, and she just scowls at you and stomps off. Wit flinched as his wife marched out of the house. Daise Congar was twice as wide as Wit, a hard-faced woman without an ounce of fat on her. She glared at him with her fists on her hips. And washing your own clothes and making your own bed. The Light shine on you both. Daise was concentrating on her husband now, but any minute she could realize whom it was Wit had been talking to.
That was why they had not accepted any of the invitations to stop for a bite to eat or something hot to drink.
The Eye of the World by Robert Jordan | Summary & Study Guide
There was not a one of them who did not know just the perfect wife for a widower with a good farm, even if it was in the Westwood. Rand stepped along just as quickly as Tam, perhaps even more so. He was sometimes cornered when Tam was not around, with no way to escape outside of rudeness. Herded onto a stool by the kitchen fire, he would be fed pastries or honeycakes or meatpies. Tarn was certainly not getting any younger, she would say. It was good that he had loved his wife so—it boded well for the next woman in his life—but he had mourned long enough.
Tam needed a good woman. It was a simple fact, she would say, or something very close, that a man just could not do without a woman to take care of him and keep him out of trouble. Worst of all were those who paused thoughtfully at about that point, then asked with elaborate casualness exactly how old he was now. Like most Two Rivers folk, Rand had a strong stubborn streak. Outsiders sometimes said it was the prime trait of people in the Two Rivers, that they could give mules lessons and teach stones. The goodwives were fine and kindly women for the most part, but he hated being pushed into anything, and they made him feel as if he were being prodded with sticks.
So he walked fast, and wished Tam would hurry Bela along. Soon the street opened onto the Green, a broad expanse in the middle of the village. Usually covered with thick grass, the Green this spring showed only a few fresh patches among the yellowish brown of dead grass and the black of bare earth. A double handful of geese waddled about, beadily eyeing the ground but not finding anything worth pecking, and someone had tethered a milkcow to crop the sparse growth. Toward the west end of the Green, the Winespring itself gushed out of a low stone outcrop in a flow that never failed, a flow strong enough to knock a man down and sweet enough to justify its name a dozen times over.
Two low, railed footbridges crossed the clear stream at the Green, and one bridge, wider than the others and stout enough to bear wagons. It was a good enough reason for Two Rivers people. On the far side of the bridges, the mounds were already building for the Bel Tine fires, three careful stacks of logs almost as big as houses. They had to be on cleared dirt, of course, not on the Green, even sparse as it was. What of Festival did not take place around the fires would happen on the Green. Near the Winespring a score of older women sang softly as they erected the Spring Pole. Shorn of its branches, the straight, slender trunk of a fir tree stood ten feet high even in the hole they had dug for it.
A knot of girls too young to wear their hair braided sat cross-legged and watched enviously, occasionally singing snatches of the song the women sang. Tarn clucked at Bela as if to make her speed her pace, though she ignored it, and Rand studiously kept his eyes from what the women were doing. In the morning the men would pretend to be surprised to find the Pole, then at noon the unmarried women would dance the Pole, entwining it with long, colored ribbons while the unmarried men sang.
No one knew when the custom began or why—it was another thing that was the way it had always been—but it was an excuse to sing and dance, and nobody in the Two Rivers needed much excuse for that. The whole day of Bel Tine would be taken up with singing and dancing and feasting, with time out for footraces, and contests in almost everything. Prizes would be given not only in archery, but for the best with the sling, and the quarterstaff.
There would be contests at solving riddles and puzzles, at the rope tug, and lifting and tossing weights, prizes for the best singer, the best dancer and the best fiddle player, for the quickest to shear a sheep, even the best at bowls, and at darts. Bel Tine was supposed to come when spring had well and truly arrived, the first lambs born and the first crop up. Even with the cold hanging on, though, no one had any idea of putting it off. Everyone could use a little singing and dancing.
And to top everything, if the rumors could be believed, a grand display of fireworks was planned for the Green—if the first peddler of the year appeared in time, of course. That had been causing considerable talk; it was ten years since the last such display, and that was still talked about. The first floor of the inn was river rock, though the foundation was of older stone some said came from the mountains. At the south end of the inn, away from the stream, stretched the remains of a much larger stone foundation, once part of the inn-or so it was said.
A huge oak grew in the middle of it now, with a bole thirty paces around and spreading branches as thick as a man. A smile split his round face, which was topped by a sparse fringe of gray hair. The innkeeper was in his shirtsleeves despite the chill, with a spotless white apron wrapped around him. A silver medallion in the form of a set of balance scales hung on his chest. Bran only wore it for dealing with the merchants and for festivals, feastdays, and weddings. He had it on a day early now, but that night was Winternight, the night before Bel Tine, when everyone would visit back and forth almost the whole night long, exchanging small gifts, having a bite to eat and a touch to drink at every house.
After the winter, Rand thought, he probably considers Winternight excuse enough not to wait until tomorrow. And you, Rand. How are you, my boy? And the weather. Everyone complains about it, and folk who should know better expect me to set it right. Though what she expected me to do.
He tried to fix both men at once with a beady eye. Some originating not far from here. By next winter there may be nothing left alive in the Two Rivers but wolves and ravens. As battle ensues, Balthamel and the Green Man slay each other. As a result, Moiraine concludes that Rand is the Dragon Reborn , but her opinion and all other details of the final battle are kept from all the male members of the group except Lan.
Tolkien 's The Lord of the Rings. For instance, both Jordan and Tolkien created narratives that explored power. However, The Eye of the World discussed how it can be deployed whereas The Lord of the Rings was more focused on its renunciation. This theme is inimical to Frodo's quest to destroy the ring of Sauron , a source of immense power that also corrupted its wearer.
The Eye of the World also touched on the theme of messianic deliverance, as the narrative involved the beginning of Rand struggles so he could fulfill his destiny as the Dragon Reborn.
These women did not only wield the One Power but they were also manipulators of the world leaders, directing the course of history, and the lives of ordinary people. From Wikipedia, the free encyclopedia. Dewey Decimal. American Library Association. Retrieved 13 May Tor Books. Westport: Greenwood Press. New Spring 1. The Eye of the World 2. The Great Hunt 3. It can be assumed that Lanfear did the same thing; Moghedien has shown no sign of having the ability or perhaps the desire to reach others' dreams, but she can trap Dreamwalkers in their own dreams in Tel'aran'rhiod.
Aran'gar can do it weakly, and then only if she is sleeping right next to the person. Brandon has a point about the fact that all three of them dreamed the same dream apparently at once, but in once instance, after Perrin found the wolves, it seemed to Rand and Mat that they fell asleep, had the dream, and immediately woke up, when Moiraine says they were asleep for four hours. I really can't say yes or no. This is one of the things Harriet has asked me to be very quiet about.
Send me an email and I'll dig through to get your answers, or will have Maria do it. Oh, the passage of time. But now that A Memory of Light is out, at least I will say that there are fewer than there were. It's really hard to say. There's all sorts of things that come about before you start writing a series. You don't have "an idea" that becomes a short story, or a book. A short story is maybe hundreds of ideas that have come together, a novel is thousands of ideas that have come together. Then I had been thinking about the source of myths, the source of legends.
About whether some of them might not have been personifications of natural events, the way we say some of them are supposed to be. What if some of them were things that people had done, and had simply been told and told until it became a myth and legend? At the same time, I was thinking about the degradation of information over distance. The further you are from an event in either space or time, the less reliable your knowledge of the event.
Information inevitably degrades over distance, whether it's spatial or temporal. I was thinking about lots of other things too, and it began to coalesce. It was the beginnings of what would become the Wheel of Time. I let it mull over for four or five years, then I thought I was ready to sit down and write. But it took four years to write The Eye of the World because I discovered there were a lot of other things I had to think and sort out.
For those who do not know, Darrell Sweet—illustrator of all of the Wheel of Time covers— has passed away. The first of his covers I can remember seeing was his beautiful cover for The Eye of the World. I'm sure it wasn't actually the first, however. Sweet was one of the premier fantasy artists for many years in the business. I have a healthy appreciation of what he accomplished, and I'm not sure many new readers realize just how influential and important he was as an illustrator.
Into these realms, Darrell's artwork was a breath of fresh air. He's beautiful with colors, his creatures are fantastic and fanciful, and he gets across a truly magical and wondrous feel to his art. When Mr. Sweet came along, that's when fantasy illustration started to change. Now, a lot of Wheel of Time fans like to gripe about inaccuracies in the Wheel of Time book covers. They have that luxury because we, as a genre, have seen huge strides in illustration over the last two decades.
However, it would be unwise to dismiss the illustrators who—through their majestic use of imagery and color—lifted us up to this point. Sir, I picked up The Eye of the World in large part because of your wonderful cover, which is a true masterpiece that I would put up beside any other piece of fantasy art. You gave us beauty, wonder, and magic. You will be missed. Rest in peace. The next person also asked about the cover art, and he gave a shorter version of the first answer. Some one asked about the first printing hardbacks of The Eye of the World and how to identify them.
He went on to say that the rumor that some of the early trade paperbacks were re-bound as hardbacks was an urban legend. He said that he checked. I gotta be honest, the cover for The Eye of the World was what got me into the books in the first place. What really sucks is that I found out that the larger than normal paperback I have been rereading all this time was the first issue for The Eye of the World. I thought there was a hardcover version. So all this time I have been beating the crap out of a rare first edition. Boy do I feel special Been lurking since The Beginning.
Although hopefully I can find some more time in the future to do more than Lurk Edited: for coherency. Deleted a sentence as my avatar showed up as planned. This book contains some hand written edits by Mrs. Jordan and someone else whom I have yet to identify although there is a fairly obvious choice , and includes a 3-page letter to tnh from Mrs. As I understand it, the advance reading copy was created from this version, as were the final hardcover yes Sub there was a limited hardcover printing and oversize softcover both originally printed in February How the devil did that production copy wind up on eBay?
With, for all love, my correspondence with Harriet still tucked inside? Is that the letter where we were going back and forth about Nancy Weisenfeld's copyedit, and Jim Rigney's preferred style of ellipses? It's been a long time. I'd love to see large high-resolution photos of all those materials, including samples of the interior markup, and all three pages of the letter. I can recognize the handwriting of most of the people that could have marked up the pages, so there's a good chance that I can either identify the person or rule out some possibilities.
I'd very much prefer that you mail me pictures of the letter, rather than posting them somewhere. My email address is on the front page of my weblog, Making Light. What you have there isn't the first bound edition. Tom Doherty did so much fiddling with the marketing and format of that book that it spent close to a year in production, rather than the normal nine months, and at times drove our department to distraction.
If it's typeset, it's a bound galley. If it's reproduced from the manuscript pages, it's a bound manuscript. Both can be referred to as "advance copies. Anyway, the advance copies with the plain light-blue cover were superseded by the massive printing of ARCs with the four-color Darryl Sweet cover.
An ARC Advance Reading Copy is basically a bound galley with a four-color cover that's usually an early version of the cover that will appear on the book. The Tor booth at the ABA that year had so many copies of it that they could have built Vauban-style fortifications out of them. Printing such a large and lavish ARC in such quantities was a gamble for Tor, which back then was a smaller and poorer company. Is the thing you're referring to as "the first printing of the oversize paperback" the ARC?
Check and see whether it has a price printed anywhere on the cover. If not, it's an ARC. I will email pictures in the next 24 hours along with what history I know or have deduced. I agree with you that the letter shouldn't be made public without necessary approvals. The "discussion" you mentioned sounds While not clear in my avatar, the book looks grey in real life although if there was a light blue one, that would be interesting as well.
I acquired a second one, without markups, that is identical to that pictured, and it is grey as well. I know the ARC well, as at one point I had five of the things from various bundled purchases I made the exterior cover of the ARC is the same artwork that is now found on the inside flap, and the inside cover of the ARC is the same artwork that now appears on the current cover.
I just picked up one of the ARCs and on the back has a quote attributed to George R Dickson—is that what you were referring to? Been so long since I'd picked it up that I'd completely forgot that I had the matching bookmark, and postcard inside, a pleasant surprise. I've since donated one to Jason Denzel and one to Jennifer Liang, for helping make a waking nightmare of a trip to the Gathering Storm signing in Charleston end on an awesome note.
On this version, the exterior artwork and inside flap match what is currently on shelves everywhere. From your perspective—is there a difference between a galley, bound manuscript, or proof? Okay, this is funny. I've been able to confirm that what Kafmerchant has is a one-of-a-kind artifact from the production of the first edition of The Eye of the World. The line written in red ink at the top edge of the cover that says "Harriet's marked-up copy" is in my handwriting.
As far as I know, no. Now, that's the sort of thing that could be buried in the notes, but you know, I've read a lot of them, and as far as I know, no, that's not the purpose. Did the makers originally have a specific intention? Because I don't think Rand used it in the way they intended. I was I will RAFO that. But I will say that they did have a specific intention. How about, here's something I can give you Loialson That's exciting. Thank you. When did you first start reading The Wheel of Time, and what were your initial impressions of the stories and the writing?
I still remember the first time I saw The Eye of the World on bookshelves, at age I can almost feel that moment, standing and holding the book in my hands. I think the cover of Eye is the best [longtime series cover artist] Darryl Sweet has ever done—one of the best in fantasy. I loved the cover. The feel of the troop marching along, Lan and Moiraine proud and face forward. The cover screamed epic. I bought the book and loved it.
I still think Eye is one of the greatest fantasy books ever written. It signifies an era, the culmination of the epic quest genre which had been brewing since Tolkien initiated it in the '60s. The Wheel of Time dominated my reading during the '90s, influencing heavily my first few attempts at my own fantasy novels.
I think it did that to pretty much all of us; even many of the most literarily snobbish of fantasy readers were youths when I was, and read The Eye of the World when I did. Jim originally had good plans for him later on, but when convinced to eliminate him, he realized how easy it was to kill off that story line. They were very good, but they were what we call midlist. That's why. And as it went on, he was giving it to me in [?
So that was high. You've got talking heads, talking heads, talking heads. Can't something happen? Harriet has told this story before here. I never knew that. That's a hell of a story. Anyway, he did do a splendid job in publishing it. There used to be something called the American Booksellers' Association, and there was a huge convention in the spring.
He had gone to Dallas to hand out previews to booksellers, which was common in those days, but what was not common in those days is that he had done a double, full-color cover on the book. It just really did; he just did what he does better than anybody else, and he did it with The Eye of the World. He was just a wonderful publisher all through the series. He showed me the first half of The Eye of the World , and I read it.
I was at that point editorial director of Tor Books, and Tom was the publisher and founder. I said, "You've got to read this one. Really, when we talk about 'going the whole hog,' well, Tom Doherty went the whole hog and all the piglets to launch the series. And the rest, I guess you'd say, is history. So what was your role? I know you picked the chapter titles, but describe for our listeners your role in sort of the creation and editing of the series. Well, in The Eye of the World in particular, in the beginning there were four boys leaving the village, but one of them didn't have anything to do.
And my husband said, "Well, I had plans for him for the fourth book. Cut that boring kid out. Yes, that's right. And another thing. I helped him develop her by saying, "Why on earth is she always riding up there to talk to Moiraine? She doesn't seem to have anything to talk about. But the village Wisdom laughs is the wise woman of the village, and generally represents the power of women. It's a very egalitarian world as far as gender is concerned. Let me start by saying that if they hadn't been happy, it wouldn't be in the book.
But anything where you work with an editorial team, you'd show them a scene, and they may say that's great, or they may say that it doesn't feel right or wouldn't be a good fit for the story. And sometimes you'll say "I'll change it" or "let me finish this draft, and we'll see what it looks like at the end". As far as the gateways, I felt it wouldn't be realistic otherwise. I've wanted to do with gateways since I was a kid, doing things like I showed in the book.
If I had them, what would I do with them? I asked this when I was a kid, so there was a lot that I wanted to do with gateways that were in my own notes that I wanted to do that I couldn't do in my own books, so I stayed away from things that the Wheel of Time had done. So when I got to write WoT I broke out those files. The gloves were off; it was time to do things that I wanted to do but didn't want to rip off the Wheel of Time.
At the end of the day, I convinced them to do it. They kept saying "they're all over the place! I didn't intend it to be a shout out of any kind, it's things I've wanted to do with gateways for like 15 years. It wasn't a shout out to the fandom. It's been an interesting experience. A lot of people think that I just wrote what the fans thought, but it's things that I felt the characters and the world would do, and if the fans happened to have talked about it, it's because it's what I thought would happen.
In fact, as I wrote the books, I read very little of the fandom in order to prevent those exact thoughts from taking root. During and after the signing, we had the discussion with Brandon about Dannil Lewin. Originally, Dannil had actually gone with Rand, Perrin, and Mat from the Two Rivers on their journey, and played a major role in events of book 3 or 4. In the end, Harriet convinced RJ that it may be better without Dannil, so some of Dannil's comments in A Memory of Light are a shout out to that of sorts. Just a fun story I thought you all might find interesting.
What was done was that there was a forward, I guess you'd say, or a prologue written by my husband for the first volume of The Eye of the World in the YA version. Yeah, but they didn't actually cut anything out; they just split the books into smaller volumes to entice the young readers into reading them. When editing both Robert Jordan and Brandon Sanderson, were there any scenes that needed to be cut because they were "too ridiculous"?
No, for either of them. They are fabulous storytellers and did not show her ridiculous scenes. One scene of Brandon's she cut for pacing reasons. She did have some disagreements with Robert Jordan, different opinions. Some scenes that he absolutely loved, she did not like, and vice versa. She emphasized the importance of having your editor as a trusted first reader. Brandon mentions Dannil, the fourth Two Rivers boy, and Harriet explains that he was cut because he had nothing to do in The Eye of the World and he was boring. Robert Jordan said that he had big plans for him in the fourth book, and Harriet's response was that if you bore your readers now, there won't be a fourth book.
Later, Robert Jordan admitted "how easily he [Dannil] unzipped out of the book. I like the Fallon books. I like the Conans he wrote. This is special. Harriet and I decided we were going to make this a bestseller. We did it in trade paper because we were afraid we couldn't get enough out of a fat hardcover book. Trade paper wasn't anywhere near as big then as it is now, but we thought that's good, too, because it will call attention to itself.
It'll be different. So we did it in trade paper and sold 40, copies, which was huge for trade paper in those days, for the first of a fantasy series. When I called you the first time, I was about halfway through reading the partials Jim was handing me. I said: "Tom, you've got to read this one. I replied: "Because either I've fallen into the wife trap after seven years of marriage, or this book is wonderful.
A truly magnificent job of publishing. Oh, we had so much fun with that. You know, it's funny. People think that, when you get a success like that, you don't want to mess with it. The second book doubled the sales of the first in trade paper. So when we got to the third book, we decided to do it in hardcover, and sales just screamed.
People asked: "Why would you do that? Look how wonderfully it's growing where it is. Yeah, it hit the New York Times , not high up, but it did. And from then on, always up. How about you, Irene? You've been working on the covers for a lot of years. It's hard to say. It was already the big book of the year. Many of the cover decisions were set. My earliest memories were that the production schedules were set by hours, not days. There would always be four different versions of the production schedule, based on what day it came in.
Contingency plans on top of contingency plans. He'd do a chapter and give it to me, I'd read and edit it, and then I'd bring a disk in. I had a terrific carryall I'd bought at the Morgan Library, but it was not up to carrying my laptop and gave up the ghost in the middle.
That was, I think, the craziest. I remember Jeff Dreyfus, our production manager at the time, spent the days walking back and forth from the office to the hotel. And Jim ended up having to stay up here to proofread. It was going to take a week or more, and I had to go back and deal with stuff at home. That's funny about the production schedules by hour, though.
I'd never heard that. They would set up four of them: if it comes on Monday, it's this, but if it comes in late Tuesday, it's this. But hey, you know, it worked. We did a book each year, and each book built. By the time we got to the fourth book, we were selling the first book in mass market paperback. It was hooking people and bringing them in. Then the next book would grow, because people wouldn't want to wait. I get a lot of questions about Dannil, the character who was cut out of The Eye of the World. Dannil sort of figures in that cover painting. He has a ghostly life.
Yes, using his work was a big expense for a little company. It was one of the ways in which you did such a superb job of publishing. Also, what's so nice about the gorgeous Michael Whelan cover for the last book is that it's obviously a Michael Whelan, but he very tactfully made it so that when you rack them all out, they look like family. That was a lovely thing he did. It is. He did a good job. The palette and compostion really works with the other covers. I didn't envy him the job and he turned it into a nice tribute as well as a conclusion. And Sam Weber is so nice.
I keep trying to call him Sam Weller because of Dickens. He said Whelan called him once and asked: "What's a ter'angreal? Looking at The Way of Kings , I had an extraordinary coincidence. A friend of mine's former wife is a curator at the Phillips Collection in Washington. He was the highest paid artist in Great Britain in the 's, and then he sank into total obscurity until a couple of war refugees rediscovered and resurrected his works after World War II.
One of his paintings is the cover of The Way of Kings , except that there's a big pantheon where the guy is in the distance. His skies are very much like Michael Whelan's. He was doing all that stuff way back then. I don't know if Whelan's ever looked at him, but it looks as if he has. Those fabulous skies of Whelan's.
I asked Brandon about that one too. I would have to really look at it and check the notes; it's not something that I know right off the top It's described a little bit differently. I thought maybe one was a connection to the True Power, and the other was protection from the taint, but RJ couldn't decide if that was the same thing or not. Do you happen to know anything about Ishamael's plan with the Eye, because it seems like he was trying to lead them there; why did he keep mentioning the Eye? Did he have a dream about it or something? You don't know? So I guess you don't know the answer to that question.
I got the impression because of this conversation that Brandon kinda tried to explain that one. If you go look and read closely, what actually killed him may be- could be subject to some debate. Irene at Tor also sent me this beautiful poster the scale may not be obvious in the photo, but the frame is about 22" by 30" with a long quote from chapter 4 of The Eye of the World.
Robert Jordan truly was a master at making a story come alive before our eyes. So, at the end of The Eye of the World , the all caps voice? Will we ever find out who it was, or what they were looking for? Maybe it'll be in the encyclopedia. I remember those little half books of The Eye of the World. I was already a fan by then, but those became collectors' items among the fans.
The Eye of the World Summary & Study Guide
It was Shadar Logoth, I seem to recall. A million. That's crazy. I mean, most authors don't have a million books in print, and Robert Jordan had a million of his promo books in print. That's just crazy. You did that right around the third book, wasn't it? The first book sold 40, trade paperbacks. We launched it as a trade paperback, because not many people were doing major promotions on trade paperbacks in those days. We ended up selling 40, of the trade. Which was very good, yeah.
I had the hardest time with the sales force when, on the third book, I wanted to make the major promotion in hardcover. They said, "Well, you've got such a winner. Why would you want to change? My bookstore first got it in mass market.
Theoryland of the Wheel of Time (Robert Jordan) : Wheel of Time Interview Search Results
I was just a new reader, and all the books that I had read up to that point had been series in progress that people handed to me, like David Eddings. Fantastic stuff, particularly for a teen boy. And Tad Williams, and Terry Brooks. I found the Dragonriders on my own and loved those, but it was already done. I was on the lookout for something to discover then. I didn't want to always just be handed something that everyone else loves. When I saw The Eye of the World , I was on the lookout for big, thick books, because you got more bang for your buck.
As a kid who didn't have a lot of pocket change, that was an important thing. I think this is going to be mine. I've spotted it! Then, when the third one came out in hardcover, I thought "He's made it, and I called it. There were all these rumors out there about how many books it was planned to be and what it was originally pitched as. Tom, I think we need to hear it from your mouth: the first-hand witness of that pitch when James Rigney came in. Was it this office right here? Well, actually we'd already done three books with him. He did them under a different pen name. They had started out to be one book.
He was going to do a big historical novel of the American Revolution, but it ended up being three fat books. When he came in and said he wanted to do a big epic fantasy novel, we said, "Well, a big epic fantasy? Didn't you tell me that, when he gave the pitch on the first book, it really ended where the third book now ends, with the sword that's not a sword being taken from the stone that's not a stone? Well, he didn't actually, no. He didn't give me a very detailed outline, but I didn't really need one because he'd done such a great job with the Fallon trilogy and Harriet [McDougal, Robert Jordan's widow and editor] was sold on it.
Harriet had edited the Fallon trilogy. She tells the story that she called you after reading the few chapters of The Eye of the World that she'd read and said, "You need to look into this thing, because either I've fallen into the wife trap after all these years, or this is the best thing I've ever read. I don't remember her saying that, but she did call me and say, "Hey, this is special.
We did some things with those books that were pretty major for a small, independent company. Also, there is an even greater oddity: travelers, a man and a woman. She goes veiled, and is dressed more richly though not ornately than anyone remembers seeing in Emond's Field before. He wears scale armor and carries a pair of swords one long and one short , plus a third, longest of all, tied to his saddle. They arrive on the day of the beginning, causing great wonder, for the road from Emond's Field south leads only to Parry Coomb.
They give no reason for their arrival, nor do they say how long they will stay. The woman's name is Moiraine, and the man is called Lan. Nyneve is suspicious of them, but they offer to pay in gold, and that is reason enough in Owyn al'Vere's mind to allow them to stay. It is not that he is greedy, but few people come to rent rooms at the tavern. He sees no harm in them. He is a friendly man, always ready to see the best in anyone and often able to bring it out, even from those others thought had no good qualities at all.
This is one of the reasons he was chosen Mayor. This image is not about the song, unfortunately. I believe it is, as has been stated, about his family.
That fact makes me pretty sad. I was holding out hope that they'd found it, or at least part of it. The song is not something that can be found. Over the years, the "Song" has come to mean something to the Tinkers—it means peace, harmony, everyone getting along. Perhaps even a little touch of Nirvana.
Even if they heard the song, as it originally was, they would not accept it as "The Song. But this is not "The Song. Log In. Minimize Maximize. I just started The Great Hunt and I find the religious and political aspects very interesting. I notice the dedication for The Great Hunt says, "They came to my aid when God walked across the water, and the true Eye of the World passed over my house.
Only in the sense that it helped to shape my moral and ethical beliefs. My work certainly is not religious in even the sense that J. Tolkien's was, much less the work of C. That inscription, by the way, referred to Hurricane Hugo striking Charleston, where I live. The word hurricane comes from the name of a god of the Caribe Indians, who believed that the storm was that god walking across the water.
Anyone who has ridden out a hurricane, and I have ridden out several, can well believe that it is. And if a hurricane isn't the Eye of the World, it's as close as we will come in this world. By the opening of the story, all she could remember was that there had been a name from the Two Rivers. The novel version of New Spring had not been released at this time. The Legends version included a mention of Kari, which RJ decided to remove in the novel version because of the confusion: ["Kari al'Thor.
From Andor? Why was Aginor so interested in the Eye of the World? He could channel clean saidin anyway so it shouldn't have been an issue? He was able to channel clean saidin , true, but only through the "filter" which had been provided by the Dark One just a short time previously, which meant the Dark One would be aware of him channeling wherever he was.