C.J. Cherryh was among the esteemed authors who lent their words to Wonderworks, the first published collection of Michael Whelan art. It seemed only logical for her to introduce the “Heroines” chapter based on the strength of her characters and how author and artist had been collaborating from the beginning of their careers.
In 1976, Michael illustrated the cover for Cherryh’s debut novel, the first of 16 covers he would paint for the future Grand Master—the most he’s produced for any author! Today we’ll be featuring those covers along with Cherryh’s original essay written for Wonderworks.
I also wanted to provide an update as we approach the long awaited release of the remastered digital edition of Michael’s first art collection. You’ll want to stick around to the end for that.
Michael Everett
Introduction by C.J. Cherryh
To my mind, there cannot be so great a difference between the imagination of the writer and that of the artist. Both see. A writer’s instinct is to tell that vision in such elaboration and detail that the reader can live through that moment and into others, a flowing process and internal. An artist captures that same vision in an instant, wholly—freezes all the individual moments of it into the attitude of a body, the set of a hand, a face, the quality of the light: one moment which implies and evokes all the others.
That, to me, is illustration. It's a joy as a writer to open that thin envelope from my publisher and to unveil a cover proof like the one for Gate of Ivrel—to see, suddenly, the same vision which I lived during the months of my solitary work now made visible. I look at it as into a mirror of my own mind, seeing, for the first time the thoughts of someone else casting back my own: my people reflected through other eyes and now become someone else's too. The moment brings a curious sense of affirmation—a feeling that, unlike daydreams that vanish, now they are real: someone else has seen the vision too, and others will see it after.
Aha, I say, I know these people. That’s the way they were when I last saw them.
And I know that in partnership with and regardless of all the words I have laid down in the book—that will be the vision of all the readers who come to it. My people will look so to them; most readers will hardly be aware whether they obtained their vision from the cover or from my words: indeed, likely both are inextricably intertwined. That is the power of illustration. I have been asked questions at times about a character’s nature or origin or attitude, and the questioner adds: “They looked as if. . .“—without seeming to be aware that there are two sources for his impression. It’s that partnership of words and art invoked again.
It is a great joy when both agree so well…when that recognition strikes me, down to the smallest degrees of habit. I build worlds as well as events. The illustration opens the door and lets me see what I’ve done: there’s Mount Ivrel; there's the crumbling keep of Ohtij-in—and now I know that the reader will see them in a certain way. There is sometimes, as a writer, yet another point of recognition...for often when I conceive a story there are places in it so intensely visual, which strike my mind with such force, that I write toward these moments and away from them as if they were landmarks on a map...and to see, on unveiling that cover proof, that one of those moments is the cover—gives a strange sense that minds have somehow been in touch.
Surely fantasy and science fiction require that peculiar sharing of vision: both work upon mood and feeling, and to capture the wonder of alien worlds and the fragile essence of magic—in range of the eye—takes a very special skill. And to transfer that capture to touches of color and fix it forever, visible to my eyes and others—that is purely wizardly.
C.J. Cherryh
A Gateway to Science Fiction and Fantasy
Reading Carolyn’s words again after all these years reminds me how fortunate I’ve been from the start of my career. I think back on Donald Wollheim’s offer of a cover assignment and the security that job offered provided me arriving in New York.
It meant a lot to have the opportunity to work with talented authors like Carolyn, who provided me with a chance to paint a strong woman like Morgaine when so much focus was on male heroes like Conan.
Looking back, I am humbled by the words of the wonderful authors who contributed to Wonderworks. Thank you!
Michael Whelan
Wonderworks Remastered
Longtime fans may recall that the print edition of Wonderworks was published way back in 1979. I was 7 at the time, and it would still be a handful of years before I discovered Michael Whelan’s art on the newsstand with Elric at the End of Time.
The first collection of his work was published by The Donning Company, a small regional press that had previously published Kelly Freas. The book sold well based on the strength of the art, running through several printings before falling out of circulation a decade later.
When I started working on Michael’s first website in 1996, he gifted me a signed copy, which I appreciated because out-of-print books were a lot harder to find then. It was a slim paperback, spanning only 120 pages, and it’s now falling apart after much abuse.
For the digital edition, I’ve included high resolution scans that make masterworks like THE WHITE DRAGON and STORMBRINGER pop in ways that printing at the time never could. That was the primary reason I threw in on this project. I wanted to rekindle the magic of Michael Whelan’s early career, elevating Wonderworks in a sparkling new edition.
I’ve expanded the original content to the equivalent of 230 pages, adding over 20 vintage paintings—including never-collected, fan-favorites like TREE OF SWORDS AND JEWELS. I filled in details with new commentary, preliminary concepts, B&W interiors, and other goodies.
To our paid subscribers here on Substack, who support this work directly, I wanted to offer thanks for your patience. I’ve been living with this project for years and I’m anxious to deliver. The last step is reviewing every detail with Michael for his approval before we release the book.
While that happens, I’ll be sending out coupons (a perk for paid subscribers) that can be redeemed for the ebook once it’s added to our shop. There’s no expiration on those…I just wanted to get them out before any annual subscriptions might lapse. (I’ll have an update on bookmarks soon for our founding supporters.)
Michael Everett
Weekly Art Recap
Shonto’s Garden - cover illustration for The Initiate Brother by Sean Russell
Path’s End - an experiment with digital composition from the mid 90s
Adventures of Little Fuzzy - cover for a children’s edition of the H. Beam Piper classic Little Fuzzy
In a World of Her Own - personal work inspired by a Stanley Kubrick quote
Kutath - final book in The Faded Sun trilogy by C.J. Cherryh
The Day of the Klesh - final book in the Ler books by M.A. Foster
Coming This Wednesday
“It was a terrible, indescribable thing vaster than any subway train—a shapeless congeries of protoplasmic bubbles, faintly self-luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light…”
H.P. Lovecraft, At the Mountains of Madness
If you know, you know…we’ll be revealing this horrifying new work for the H.P. Lovecraft classic At the Mountains of Madness this week.
An exclusive preview of the next original coming to our shop will be available to our paid subscribers on Substack before the art is released in our shop on Wednesday, September 3 at 11am ET.
Subscribe so you don’t miss a thing…
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I've probably mentioned in these comments before 'Wonderworks' was the first art book I ever bought with my paper route money at B. Dalton. Anybody remember those at the malls? (The second was 'The Studio' with Jones, Kaluta, Windsor-Smith, and Wrightson.)
Some, what, almost 50 years later, it's still here with me. Much worse for wear. This has been a working book, not a collector's item. It's pages fired my imagination. They transported me. They made me put pencil to paper if just for my own enjoyment. It got opened and looked through a lot. It got paint smudges, varnish splatters.
That is all to say I'm really looking forward to seeing what you've cooked up for us, Mr. Everett. And you too Mr. Whelan.
Wow - great edition and how exciting about the new Wonderworks! I've never read C.J.'s books, so will now be on a quest to obtain some!