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The World of Ice & Fire: The Untold History of Westeros and the Game of Thrones (A Song of Ice and Fire) Hardcover – October 28, 2014
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If the past is prologue, then George R. R. Martin’s masterwork—the most inventive and entertaining fantasy saga of our time—warrants one hell of an introduction. At long last, it has arrived with The World of Ice & Fire.
This lavishly illustrated volume isa comprehensive history of the Seven Kingdoms, providing vividly constructed accounts of the epic battles, bitter rivalries, and daring rebellions that lead to the events of A Song of Ice and Fire and HBO’s Game of Thrones. In a collaboration that’s been years in the making, Martin has teamed with Elio M. García, Jr., and Linda Antonsson, the founders of the renowned fan site Westeros.org—perhaps the only people who know this world almost as well as its visionary creator.
Collected here is all the accumulated knowledge, scholarly speculation, and inherited folk tales of maesters and septons, maegi and singers, including
• full-color artwork and maps, with more than 170 original pieces
• full family trees for Houses Stark, Lannister, and Targaryen
• in-depth explorations of the history and culture of Westeros
• 100% all-new material, more than half of which Martin wrote specifically for this book
The definitive companion piece to George R. R. Martin’s dazzlingly conceived universe, The World of Ice & Fire is indeed proof that the pen is mightier than a storm of swords.
- Print length336 pages
- LanguageEnglish
- PublisherBantam
- Publication dateOctober 28, 2014
- Dimensions9.25 x 1.29 x 12.12 inches
- ISBN-100553805444
- ISBN-13978-0553805444
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Editorial Reviews
About the Author
Elio M. García, Jr., and Linda Antonsson founded and run the popular Westeros fansite, which is the definitive source for all things George R. R. Martin.
Excerpt. © Reprinted by permission. All rights reserved.
THERE ARE NONE who can say with certain knowledge when the world began, yet this has not stopped many maesters and learned men from seeking the answer. Is it forty thousand years old, as some hold, or perhaps a number as large as five hundred thousand—or even more? It is not written in any book that we know, for in the first age of the world, the Dawn Age, men were not lettered.
We can be certain that the world was far more primitive, however—a barbarous place of tribes living directly from the land with no knowledge of the working of metal or the taming of beasts. What little is known to us of those days is contained in the oldest of texts: the tales written down by the Andals, by the Valyrians, and by the Ghiscari, and even by those distant people of fabled Asshai. Yet however ancient those lettered races, they were not even children during the Dawn Age. So what truths their tales contain are difficult to find, like seeds among chaff.
What can most accurately be told about the Dawn Age? The eastern lands were awash with many peoples—uncivilized, as all the world was uncivilized, but numerous. But on Westeros, from the Lands of Always Winter to the shores of the Summer Sea, only two peoples existed: the children of the forest and the race of creatures known as the giants.
Of the giants in the Dawn Age, little and less can be said, for no one has gathered their tales, their legends, their histories. Men of the Watch say the wildlings have tales of the giants living uneasily alongside the children, ranging where they would and taking what they wanted. All the accounts claim that they were huge and powerful creatures, but simple. Reliable accounts from the rangers of the Night’s Watch, who were the last men to see the giants while they still lived, state that they were covered in a thick fur rather than simply being very large men as the nursery tales hold.
There is considerable evidence of burials among the giants, as recorded in Maester Kennet’s Passages of the Dead—a study of the barrow fields and graves and tombs of the North in his time of service at Winterfell, during the long reign of Cregan Stark. From bones that have been found in the North and sent to the Citadel, some maesters estimate that the largest of the giants could reach fourteen feet, though others say twelve feet is nearer the truth. The tales of long-dead rangers written down by maesters of the Watch all agree that the giants did not make homes or garments, and knew of no better tools or weapons than branches pulled from trees.
The giants had no kings and no lords, made no homes save in caverns or beneath tall trees, and they worked neither metal nor fields. They remained creatures of the Dawn Age even as the ages passed them by, men grew ever more numerous, and the forests were tamed and dwindled. Now the giants are gone even in the lands beyond the Wall, and the last reports of them are more than a hundred years old. And even those are dubious—tales that rangers of the Watch might tell over a warm fire.
The children of the forest were, in many ways, the opposites of the giants. As small as children but dark and beautiful, they lived in a manner we might call crude today, yet they were still less barbarous than the giants. They worked no metal, but they had great art in working obsidian (what the smallfolk call dragonglass, while the Valyrians knew it by a word meaning “frozen fire”) to make tools and weapons for hunting. They wove no cloths but were skilled in making garments of leaves and bark. They learned to make bows of weirwood and to construct flying snares of grass, and both of the sexes hunted with these.
Their song and music was said to be as beautiful as they were, but what they sang of is not remembered save in small fragments handed down from ancient days. Maester Childer’s Winter’s Kings, or the Legends and Lineages of the Starks of Winterfell contains a part of a ballad alleged to tell of the time Brandon the Builder sought the aid of the children while raising the Wall. He was taken to a secret place to meet with them, but could not at first understand their speech, which was described as sounding like the song of stones in a brook, or the wind through leaves, or the rain upon the water. The manner in which Brandon learned to comprehend the speech of the children is a tale in itself, and not worth repeating here. But it seems clear that their speech originated, or drew inspiration from, the sounds they heard every day.
The gods the children worshipped were the nameless ones that would one day become the gods of the First Men—the innumerable gods of the streams and forests and stones. It was the children who carved the weirwoods with faces, perhaps to give eyes to their gods so that they might watch their worshippers at their devotions. Others, with little evidence, claim that the greenseers—the wise men of the children—were able to see through the eyes of the carved weirwoods. The supposed proof is the fact that the First Men themselves believed this; it was their fear of the weirwoods spying upon them that drove them to cut down many of the carved trees and weirwood groves, to deny the children such an advantage. Yet the First Men were less learned than we are now, and credited things that their descendants today do not; consider Maester Yorrick’s Wed to the Sea, Being an Account of the History of White Harbor from Its Earliest Days, which recounts the practice of blood sacrifice to the old gods. Such sacrifices persisted as recently as five centuries ago, according to accounts from Maester Yorrick’s predecessors at White Harbor.
This is not to say that the greenseers did not know lost arts that belong to the higher mysteries, such as seeing events at a great distance or communicating across half a realm (as the Valyrians, who came long after them, did). But mayhaps some of the feats of the greenseers have more to do with foolish tales than truth. They could not change their forms into those of beasts, as some would have it, but it seems true that they were capable of communicating with animals in a way that we cannot now achieve; it is from this that legends of skinchangers, or beastlings, arose.
In truth, the legends of the skinchangers are many, but the most common—brought from beyond the Wall by men of the Night’s Watch, and recorded at the Wall by septons and maesters of centuries past—hold that the skinchangers not only communicated with beasts, but could control them by having their spirits mingle. Even among the wildlings, these skinchangers were feared as unnatural men who could call on animals as allies. Some tales speak of skinchangers losing themselves in their beasts, and others say that the animals could speak with a human voice when a skinchanger controlled them. But all the tales agree that the most common skinchangers were men who controlled wolves—even direwolves—and these had a special name among the wildlings: wargs.
Legend further holds that the greenseers could also delve into the past and see far into the future. But as all our learning has shown us, the higher mysteries that claim this power also claim that their visions of the things to come are unclear and often misleading—a useful thing to say when seeking to fool the unwary with fortune-telling. Though the children had arts of their own, the truth must always be separated from superstition, and knowledge must be tested and made sure. The higher mysteries, the arts of magic, were and are beyond the boundaries of our mortal ability to examine.
Yet no matter the truths of their arts, the children were led by their greenseers, and there is no doubt that they could once be found from the Lands of Always Winter to the shores of the Summer Sea. They made their homes simply, constructing no holdfasts or castles or cities. Instead they resided in the woods, in crannogs, in bogs and marshes, and even in caverns and hollow hills. It is said that, in the woods, they made shelters of leaves and withes up in the branches of trees—secret tree “towns.”
It has long been held that they did this for protection from predators such as direwolves or shadowcats, which their simple stone weapons—and even their vaunted greenseers—were not proof against. But other sources dispute this, stating that their greatest foes were the giants, as hinted at in tales told in the North, and as possibly proved by Maester Kennet in the study of a barrow near the Long Lake—a giant’s burial with obsidian arrowheads found amidst the extant ribs. It brings to mind a transcription of a wildling song in Maester Herryk’s History of the Kings-Beyond-the-Wall, regarding the brothers Gendel and Gorne. They were called upon to mediate a dispute between a clan of children and a family of giants over the possession of a cavern. Gendel and Gorne, it is said, ultimately resolved the matter through trickery, making both sides disavow any desire for the cavern, after the brothers discovered it was a part of a greater chain of caverns that eventually passed beneath the Wall. But considering that the wildlings have no letters, their traditions must be looked at with a jaundiced eye.
Product details
- Publisher : Bantam; First Edition (October 28, 2014)
- Language : English
- Hardcover : 336 pages
- ISBN-10 : 0553805444
- ISBN-13 : 978-0553805444
- Item Weight : 3.71 pounds
- Dimensions : 9.25 x 1.29 x 12.12 inches
- Best Sellers Rank: #7,072 in Books (See Top 100 in Books)
- #104 in TV, Movie & Game Tie-In Fiction
- #678 in American Literature (Books)
- #1,445 in Action & Adventure Fiction (Books)
- Customer Reviews:
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About the authors
George R.R. Martin is the globally bestselling author of many fine novels, including A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons, which together make up the series A Song of Ice and Fire, on which HBO based the world’s most-watched television series, Game of Thrones. Other works set in or about Westeros include The World of Ice and Fire, and A Knight of the Seven Kingdoms. His science fiction novella Nightflyers has also been adapted as a television series; and he is the creator of the shared-world Wild Cards universe, working with the finest writers in the genre. He lives in Santa Fe, New Mexico.
Elio M. García, Jr., and Linda Antonsson founded and run the popular site Westeros.org, which is the definitive source for all things George R. R. Martin.
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George R. R. Martin has meticulously crafted an original and complex world for his fantasy master piece, and this book is a wonderful exploration of that world. An absolutely fantastic addition to my library. One of the best fantasy reference / companion books that I've ever read. Extraordinary world building and lavish illustrations.
In the realm of fiction it is not easy to create such a vivid and complex fictional history which is occupied by such original characters, political intrigue and storylines that could only take place within the context of this fully developed world. I was looking for a good book to read while I awaited George R. R. Martin's next book in the A Song of Ice and Fire series and I must say, I wasn't the slightest bit disappointed. This will tide me over until The Winds of Winter is released. Thank you George, Elio and Linda.
Bottomline, this is a wonderful fantasy compendium that just pulls you in from the very first page. It's a history of the known world of the A Song of Ice and Fire saga as recorded by a Maester of the Citadel for King Tommen. Therefore, this tome is an in-world history textbook, limited in scope, accuracy and gaps in knowledge of their world and past critical events. This is not a complete history of the known world written from an omniscient point of view. The information contained in this tome is limited to what a Maester of the time might be able to research, therefore I understand why there are gaps in the historical narrative, which mirrors our own historical narrative in some parts of out past. The rice detail of the text and the lavish illustrations contribute greatly to the world building of the ASOIAF universe. The world building is so complete and detailed that you sometimes feel as if you are actually reading historical fiction, not a fantasy. What is fascinating and true to life is the way the characters shape the world around them but at the same time their world shapes them. Above all this is a great read which is sure to bring you hours of pure unadulterated escapism.
I don't usually write reviews but I saw so many negative reviews stating GRRM didn't write or have any part in creating this book. I just want to point out that the blurb on Amazon states, "100% all-new material, more than half of which Martin wrote specifically for this book." If that's not enough to convince you, GRRM even confirmed this on his blog: "Ah. actually, it was with Elio and Linda, sure, but there are tens of thousands of my words in there this "not written by GRRM" is misinformation."
I'm not terribly sure why some critics and reviewers are bashing the writing style or quality of this book. I love the way this book is written. It is what it's advertised to be, it Is a know algae of the day history book of the A Song of Ice and Fire universe and I absolutely love it. My Christmas came early this year with the release of this beautiful book.
As far as the text, which many of the reviews here are quick to slam or to praise, I felt the truth was in the middle and uneven would be the best word to describe. Some of the narratives are very well done - the "short story" of the Conquest, the reign of King Jaehaerys, and the history of the Vale in particular stood out as well done; the narrative flowed well, and the characterizations were very satisfying, but most importantly gave itself identity and value. As far as a common identifier of the best pieces, the text is at its best and finds a nice rhythm when it becomes character-centric as opposed to purely event-centric. When Martin et. immerse you in the rich characterizations of Nymeria, Aegon, Robar Royce, and Tywin, and let the history flow around them is extremely enjoyable.
Other portions were frustrating - several histories of reigns and a couple of the Kingdoms really felt like obligated filler as opposed to a seized opportunity to provide rich lore, and all too often the "Untold History" teased on the cover produced only empty text containing no more than "going through the motions" summations of previously known information,providing no additional lore or color. It is understandable in areas where it's obvious that Martin isn't ready to show his cards; others such as the War of the Ninepenny Kings from a 10,000 foot view and the Greyjoy Rebellion being reduced to a couple paragraphs and passing on the opportunity to add color and depth as opposed to regurgitation due to necessity were a letdown.
The choice of the maester as a point of view was overall a sound decision. The additional layer adds richness: bias is introduced, sources are referenced, and the environment of the ASOIAF novels needs to be taken into account by the reader - a very Martin-esque move. The "cop outs", where the decision to use a maester as the writer leads to lack of expansion or evasion were an unfortunate consequence.
As far as the artwork, I expected the illustrations to be filler, almost an annoyance beside the lore. It was the exact opposite - the illustrations are impressive, most absolutely stunning. The amount of artwork, fantastic detail, and affording a quality template for the production really stood out. I'm not sold that AWOIAF will be a frequent reread or that the table of contents and index reference enough consistency in the text for it to serve as a reference, but there will definitely be portions worth a bookmark and others worth perusing at times, and the art is worth a complete page through anytime.