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| Granada 1979, Bob Haberfield |
This sequence is fascinating because is posits a post-nuclear world where Great Britain has succumbed to its darkest, most imperialistic tendencies and placed a yoke on all of its rivals. Prior to World War II, Great Britain actually was the most powerful nation on Earth. Post-war, a typical fantasy narrative might envision a resurgent, utopian Britain, but Moorcock as usual gives things a more cynical spin and makes the hero of his saga a defeated German Duke, and Britain the inhuman oppressors.
In the Hawkmoon books you find some fairly thinly-disguised political satire, relating to politics of the 60s, but the main reason I made my hero a German and his base as the Camargue in France was to try to cut across some of the ethnocentric elements you found in what little fantasy fiction there was at the time and was found in genre fiction in general.
I was determined to move my fantasy away from some kind of vague ‘time before time’ and, if you like, Europeanise it, make it relate at least to a degree to the contemporary world. My fantasy, though in all important ways essentially escapism, always has to have some relation to my own and my contemporaries’ experience of the real world or it doesn’t seem worth writing. Of course, I was primarily in those days addressing an Anglophone audience, and wanted to say something like ‘Hey, we’re not always the good guys’.
- "The Genesis of Hawkmoon", MM on Tor.com, 2010
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| Lancer 1960s, Gray Morrow/Jeff Jones/Jack Fargasso |
Ideas for the character and the "High History of the Runestaff" were initially sketched out in the mid-1960s (sometime after "Behold the Man" at least) as a possible submission to Science Fantasy, then edited by Kyril "Bon" Bonfiglioli (author of the tongue-in-cheek "Mortdecai" series). However, Bon generally dismissed heroic fantasy, so Moorcock instead began work on the more science-fictional survival odyssey The Ice Schooner, a serial published in "SF Impulse" (formerly Science Fantasy). However, work on the Hawkmoon saga resumed when Larry Shaw of Lancer Books expressed interest in more material in the vein of Elric and Kane of Old Mars.
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| White Lion 1970s, James Cawthorn |
In some ways, the Hawkmoon books feature some of Moorcock's most straightforward heroic archetypes. Hawkmoon himself was supposedly inspired by the Germanic folk hero Dietrich von Bern, a version of the historical Goth “barbarian” Theoderic the Great (also featured in stories such as the Nibelunglied (The "Ring" saga) and the Old Norse Thidrekssaga). However, I think the novelty of the Hawkmoon books lies not so much in its pseudo-Gallic heroes, but more in its premise of our own world twisted into evil. In fact, Dorian's German background hardly plays any kind of role at all, and it almost seems that the real stars are the "baddies" of Great Britain's "black mirror", Granbretan.
However, a fantasy narrative still needs a quest-object, and here that role is here filled by the mysterious Runestaff:
I suppose it's a sort of perfect order. It's similar to the Holy Grail in a lot of it's characteristics. It operates on several levels. At one, it's a source of order, on another, a source of disorder, in that human nature is inclined to make an awful lot of trouble just to get hold of it.This object does enable Hawkmoon to accomplish some fantastic deeds, but it's true role is basically to act as the story's "McGuffin". However, its significance and relationship to the Cosmic Balance will be much more developed decades later. Although the Hawkmoon books don't rely on Moorcock's Eternal Champion/Multiverse construct, later books do include Hawkmoon as an alternate Eternal Champion incarnation of Elric, Erekosë and Corum. However, of these four heroes, only Hawkmoon ends up in a traditional "good place" (at least for a few years anyways).
- Imagine Magazine #22, January 1985
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| Mayflower 1970s, Bob Haberfield |
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| James Cawthorn (?) |
The Hawkmoon books frequently include a map of Hawkmoon's world, which makes it easy to correlate the names of countries of Hawkmoon's time with our own (although the mutated names are not exactly trying to hide anything). As a teenage State-side reader (with a typically anemic appreciation for world geography) I have to admit these national distinctions originally had no more meaning for me than if they had been named Oz, Hobbiton or Narnia. However, rereading these books with a greater appreciation of history, Moorcock's national nomenclature transformations have now become much more entertaining/poignant. Although Moorcock has always maintained that he strives for his fantasy works to stand as simple escapism, it's very rewarding to revisit these things as one gets more "worldly" I suppose.
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| Gollancz Omnibus 2003, Steve Stone |
Aside from retro-fitting 20th Century nations into his post-"Tragic Millennium" world, Moorcock also name-drops many historical figures of the past in the guise of "the old gods". For example,
"Jhone, Jhorg, Phowl and Rhunga" are the dimly-remembered names of members of The Beatles. From the political world, "Chirshil, the Howling God" refers to Winston Churchill, "Aral Vilsn, the Roaring God" refers to British PM Harold Wilson, and "Pawl Bewchard" probably refers to the neo-fascist writer Paul Bouchard. Literary friends are also pseudo-cited: "Bjrin Adass, the Singing God" (Brian Aldiss), "Jeajee Blad, the Groaning God" (J. G. Ballard); "Jh'Im Slas, the Weeping God" (James Sallis)... This kind of fraternal tipping-of-the-hat is actually a recurring device in Moorcock's works (as recently seen in the Michael Kane adventure Barbarians of Mars (Masters of the Pit)). More info on this subject here: http://www.multiverse.org./fora/showthread.php?t=4778)
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| Mayflower 1969, Bob Haberfield |
Volume 1: The Jewel In The Skull (1967)
Baron Meliadus, a wolf-headed lord of the Dark Empire arrives at Castle Brass hoping to force an alliance between the Dark Empire of Granbretan (Great Britain) and Count Brass’ independent province of the Kamarg (Camargue). When Meliadus tries to kidnap Count Brass’ daughter Yisselda, Count Brass drives the Baron away. Meliadus vows vengeance.
Later, Dorian Hawkmoon, a captured resistance leader from the defeated province of Koln (Cologne), is tasked with infiltrating Count Brass’ domain. In order to insure Hawkmoon’s obeisance, Hawkmoon has a Black Jewel implanted in his forehead which will enable the Dark Empire scientist Baron Kalan to observe all that Hawkmoon sees. However, when Hawkmoon eventually arrives at Castle Brass, the Black Jewel’s nefarious properties are temporarily suppressed by Count Brass’ counselor Bowgentle. As Dorian and Count Brass’ daughter Yisselda grow into lovers, Baron Meliadus prepares an invasion army to take the Kamarg by force. When the Dark Empire finally attacks, they are repelled by Castle Brass’ mysterious “old technology” weapons.
While Meliadus licks his wounds back in Granbretan, Hawkmoon departs for the Persian city of Hamadan (Hamadān) to search for a way to remove the Black Jewel from his forehead. On the journey he befriends the hybrid dwarf-giant Oladahn. When they run into some tight spots, the mysterious Warrior in Jet and Gold comes to their aid. At Hamadan, Hawkmoon locates the sorcerer Malagigi, but Baron Meliadus' Dark Empire troops attack the city before Malagigi can remove the Black Jewel. Hawkmoon eventually defeats Meliadus in single combat, although Meliadus escapes. Malagigi agrees to deactivate the Black Jewel after the Warrior in Jet and Gold informs him that Hawkmoon serves the Runestaff. Hawkmoon and Oladahn prepare to head back towards Castle Brass.
This first volume in the “History of the Runestaff” serves to establish the Dark Empire as an evil (but somewhat dysfunctional) conqueror-nation. Hawkmoon’s first companion Oladahn is introduced, and a few hints of Hawkmoon’s larger destiny and connection with the mythic Runestaff are meted out by the equally mysterious Warrior In Jet And Gold.
Wikiverse Entry
Wikipedia Entry
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| 1992 Omnibus, Yoshitaka Amano |
Volume 2: The Mad God's Amulet (1968)
At the deserted city of Soryandum (near modern-day Kuwait), Hawkmoon and Oladahn are surprised and captured by the Granbretan-allied Frenchman Huillam D’Averc. The heroes are temporarily liberated when the incorporeal residents of Soryandum (the ghostly Wraith-folk) materialize, and are tasked with retrieving some special devices from a distant cave (which is guarded by a giant robot guardian). After dodging the robot and obtaining the Wraithfolk devices, Hawkmoon lures the robot guardian back to Soryandum where it attacks Huillam D’Averc’s squadron. The Wraithfolk use one of the devices to teleport their city to another dimension, while Hawkmoon departs with a duplicate with which he hopes can help save Castle Brass from the Dark Empire's return.
Later at sea, Hawkmoon and Oladahn again encounter D’Averc (this time separated from his troops), but they put aside their differences in order to form an alliance against pirate raiders. Hawkmoon then learns that Yisselda has been made a prisoner of “the Mad God”. Hawkmoon, Oladahn and D’Averc eventually come across the Warrior In Jet And Gold, who joins their quest to the Mad God’s castle (located in "Ukrania"). There, Hawkmoon liberates an entranced "dark" Yisselda, but Dark Empire troops soon arrive. Hawkmoon uses the hypnotic power of the Red Amulet (a mystical ornament obtained from the Mad God) to allow escape on the backs of giant cats. The heroes eventually return to Castle Brass which is near total defeat from Meliadus’ siege forces. After driving off Meliadus’ troops, Hawkmoon uses the Wraithfolk dimensional transporter to whisk Count Brass’ entire province to a remote dimension, safe from the Dark Empire.
The second volume in the “History of the Runestaff” introduces the highly-appealing character of Huillam D’Averc. D’Averc initially appears as an agent of the Dark Empire, but he is essentially an opportunist and doesn’t really share Granbretan’s voracious appetite for subjugation. He ultimately becomes one of Hawkmoon's most valuable allies. Unlike the first volume, this book doesn’t spend much time in Granbretan, but instead expands on the rest of the future world of the Runestaff. The lost technology of the Wraithfolk (giant robots, dimensional teleporters, etc) as well as the Red Amulet provide the “fantasy” elements here.
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| White Wolf 1995, John Zeleznik |
Volume 3: The Sword of the Dawn (1968)
When Hawkmoon learns that Granbretan may have developed a way to reach the dimension in which the Kamarg is hiding, he makes plans to infiltrate Londra (London), capital of Granbretan. Disguised as ambassadors from Asiacommunista (Communist Asia), Hawkmoon and D’Averc are feted by a frustrated Baron Meliadus. Huillam D’Averc eventually reveals himself to Meliadus’ ex-wife Countess Flana and uses his charm to win her sympathy. Flana helps them reach the hideout of Mygan, a scientist who has been developing technology to breach the dimensions. Mygan recognizes Hawkmoon as a servant of the Runestaff and tells him that he must seek out the Sword of the Dawn on behalf of the Runestaff.
After evading various monsters, Hawkmoon and D’Averc again run into sea pirates led by a man named Valjon, but are rescued by the Amarehk (American) sea captain Pawl Bewchard (Paul Bouchard?) and taken back to his base at Narleen (New Orleans). Bewchard is later captured by Valjon (Victor Hugo's "Jean Valjean"?) and sacrificed at the Temple of Batach Gerandiun (Baton Rouge?), which guards the Sword of the Dawn. Hawkmoon is also captured, but the Warrior in Jet and Gold appears and grants Hawkmoon the Sword of the Dawn. Hawkmoon uses the Sword to summon the Legion of the Dawn to dispatch Valjon and his cultists. The Warrior then tells Hawkmoon that he must go to Dnark (New York?) to find the Runestaff, but Hawkmoon is resistant to this decree.
Volume three of the “History of the Runestaff” brings back some of the comical intrigue found amongst the degenerate, back-biting nobility of the Dark Empire. Hawkmoon and D’Averc get a chance to play-act as inscrutable Asians, and then spend some time in post-apocalyptic America, specifically New Orleans. The Warrior In Jet And Gold appears essentially as a deux ex machina and grants Hawkmoon the Sword of the Dawn, which has the same kind of demon-conjuring powers that Corum’s special gifts will later have in the Swords Trilogy. Hawkmoon’s character deepens somewhat at this point, as he begins to resist his destiny, moving him away from the chivalric servant character of the first three books, and hinting at a more Elric-like stance of defiance.
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| Savoy 1986, Graphic adaptation James Cawthorn |
Volume 4: The Runestaff (1969)
Hawkmoon tries to defy the Runestaff by refusing to head towards Dnark as the Warrior In Jet And Gold had asked him to. Nonetheless, his ship is driven by supernatural forces to the island of Orland Fank, another servant of the Runestaff, who urges Hawkmoon to comply. Hawkmoon and D’Averc eventually arrive at Dnark (located in Amarehk), where they meet an angelic Asian boy named Jehamia Cohnahlias (another naming variation of Jeremiah Cornelius), who guards the Runestaff. Unfortunately, Dark Empire forces under Shenegar Trott arrive and capture Cohnahlias. With the help of the Warriors of the Dawn, Hawkmoon defeats the Dark Empire soldiers, but is unable to save the Warrior in Jet and Gold from being slain by Shenegar Trott. Cohnalias tells Hawkmoon to take the Runestaff back home with him as a standard.
Meanwhile in Londra, Baron Meliadus and Baron Kalan plot to overthrow the ancient King Huon. They eventually form a rebel force to attack King Huon’s palace citadel. At the same time, the clock-faced scientist Taragorm creates a device which draws the Kamarg back from its hidden dimension through sound vibrations. However, by this time all of the Dark Empire’s forces have been recalled to Londra (to defend King Huon from Meliadus’ rebellion), and Hawkmoon and his friends are unmolested upon their return. Back in Londra, Baron Kalan uses a chemical weapon to breach Huon’s palace defenses, and Taragorm is killed in the destruction. Meliadus fights his way to King Huon and kills the decrepit king, but is temporarily blinded in the process.
Hawkmoon’s forces eventually arrive in Londra and defeat Meliadus' battle-worn rebel force but Oladahn, Count Brass, D’Averc and Bowgentle are killed in the battle. When Hawkmoon faces off with a recovered Meliadus he is nearly defeated, but is saved at the last stroke when Meliadus is confused by his own reflection in Hawkmoon’s mirrored armor. After Hawkmoon slays Meliadus at last, Flana is made the new, more benevolent ruler of the Dark Empire. Orland Fank departs with the Runestaff, the Red Amulet and the Sword of the Dawn, and names Hawkmoon as a “Champion Eternal”.
The final volume of the History of the Runestaff ends with Granbretan’s rotten core causing its own downfall, as a civil war breaks out. Everything ends in blood and flames but, for a change, the lovers Hawkmoon and Yisselda survive. However, in order to balance out this good fortune, every one of their friends dies in the final battle. Interestingly, the Runestaff itself does not seem to have any superpowers. It seems that the very act of serving it gives its followers the path to victory. In other words, although the Runestaff doesn’t give the heroes any kind of great destructive power, the quest itself leads to the exact circumstances needed for victory. The rebels’ quest for this McGuffin causes so much frustration for the squabbling forces of the Dark Empire that it triggers Granbretan’s own inevitable self-destruction. The fact that Baron Meliadus' defeat comes not from Hawkmoon's great skill but from a reflection of himself in Hawmoon's armor is highly symbolic.
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| DAW 1977, Richard Clifton-Dey |
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