
That trick is probably the closest available comparison to what has been done withBABYLON 5 over
the last four years.
BABYLON5 is a novel for television, with a definite beginning, middle, and end. It is also a work in
progress, with its fair share of sudden turns caused when the real world impinges upon the writing
process, or when better ideas are stumbled upon. Yes, one may plan to have Ivanova kick several Drazi
senseless and escape from the trap they’ve set for her . . . but if Claudia Christian breaks her foot the day
before you’re to shoot that sequence, you adjust.
You keep going, and you never look back. Because unlike a print novel, where after the first draft is
finished you can go back and smooth out the bumps in the road, you can’t change what went before. It’s
out there, transmitted into the ether at approximately the speed of light. You cannot go back, you can
only go forward, broadcasting episodes as they are finished like pages taped sequentially to a window,
for all the world to see. For the most part, this particular example of performance art-telling
theBABYLON 5 story in front of fifteen million viewers in theUnited States and countless millions more
in scores of other countries around the planet-has been very successful. Most of the bumps and subtle
adjustments are barely noticeable.
But they’re there. And over four years, with the real world a constant random factor in the making
ofBABYLON 5, there are a lot of them. Small, annoying, but there. They lurk in threads that fall by the
wayside, or are mentioned but not explained in as much detail as they should be, and can thus seem like
logical contradictions. It’s all pretty much there ... it just takes a very logical and precise mind to put the
pieces together and make sense of it all.
Which makes the book you hold in your hands all the more extraordinary.
Imagine someone coming to your house with a box containing eighty-eight jigsaw puzzles, all jumbled
together, and dumping the contents at your feet, saying “Here ... all the pieces are there, all you have to
do is make sense of it.” That is essentially the task undertaken by Kathryn Drennan in To Dream in the
City ofSorrows .
While all of the BABYLON 5 books operate, to one extent or another, within series continuity, this is
the first real attempt to stitch together massive amounts of continuity from the series itself into one book
... to pull together the pieces dropped here and there over eighty-eight episodes and four years, ironing
out the seeming discontinuities, explaining what was not explained previously, and tying together
seemingly unrelated threads into a beautifully defined tapestry, all the
while telling the one story that viewers have been asking for since the first season: “What happened to
Jeffrey Sinclair after he leftBabylon 5 and before he returned in War without End!”
How difficult a task was this? Job would’ve packed it in, Hercules would’ve retired, and Orpheus
would’ve decided that his days spent in Hades weren’t really that bad after all.
We’re talking here late-night conversations, too many to number, that began with, “Okay, now when
you wrote this in season one, what did you really mean and how the heck does that tie into what
happened over here in season four? You spent four years talking about the Minbari warrior and religious
castes but you hardly even mention the worker caste, how do they tie in? And how the hell was an entire
Minbari fleet able to sneak up on Sinclair’s squadron at theBattle of the Line right out in open space?!”
Kathryn is not just rigorously logical, she is relentlessly logical. Things have to make sense, and there
can’t be any loose threads lying around. But there were a number of loose threads surrounding the story