Sat despondently at a sticky table in a dingy bar on Devaron sipping an infe-rior Alderaanian.

"Over ninety percent " Mona corrected him. The War Room was littered with pizza boxes and beer cans evidence of a long day of market analysis. A tray of fresh doughnuts and a row of tall paper coffee cups now awaited the analysts two of whom had just arrived with newspapers. Garner Goodman stood at the window with a new pair of binoculars watching the capitol three blocks away and paying particular attention to the.
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In The Chronicles of Thomas Covenant. That's because the original source for this sequence of novels was a recording of Richard Wagner's Gotterdammerung (The Twilight of the Gods); the true genesis began in the fall of 1966. That recording which I purchased in September of 1966 wasn't my first experience with Wagner; but it was my first taste of Wagner's four-part opera cycle Der Ring des Nibelungen (The Ring of the Nibelung) and it inspired me to purchase as quickly as my finances permitted (I spent three years saving pennies) recordings of the other three parts of The Ring: Das Rheingold (The Rhine Gold) Die Walkure (The Valkyrie) and Siegfried (no translation necessary). In a relatively short time I knew that I'd discovered my musical alter-ego - a kind of transcendental Doppelganger. Wagner's music inspired me. (Indeed some of the literary techniques of The Chronicles of Thomas Covenant were extrapolated from the way Wagner used musical ideas. ) And the.
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