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For Immediate Release

New Novel Merges King Arthur, Lilith, and Dracula Legends

Marquette, MI, November 18, 2016—Since the dawn of time, Lilith, Adam’s first wife whom he spurned in Eden, has held a grudge against Adam and Eve’s descendants, and since the time of King Arthur, the descendants of Britain’s greatest king have sought to stop her from wreaking havoc upon the human race. But never could they have envisioned Dracula joining Lilith’s forces.

Lilith's Love brings together the legends of King Arthur, Dracula, and the Bible to create a stunning new look at human history.

Lilith’s Love brings together the legends of King Arthur, Dracula, and the Bible to create a stunning new look at human history.

Lilith’s Love is the fourth of five volumes in Tyler R. Tichelaar’s The Children of Arthur series. The series began with Arthur’s Legacy in which Lilith, in her incarnation as Gwenhwyvach, Guinevere’s half-sister, sought to destroy Camelot. The series continued through Melusine’s Gift and Ogier’s Prayer as Arthur’s modern day descendants, Adam and Anne Delaney, discovered the truth about their heritage and, with the aid of Merlin, tried to stop Lilith from destroying all that is good in the world.

Now things come to a head when Adam and Anne meet Quincey Harker, the child born to Jonathan and Mina Harker at the conclusion of Bram Stoker’s Dracula. Quincey’s mother, Mina, had been forced by Dracula to drink his blood, and as a result, Quincey was born with superhuman powers and a tendency toward evil. Ultimately, Quincey is forced to choose between good and evil, and what he learns on his journey could ultimately make the difference in finally defeating Lilith, but nothing, everyone quickly realizes, is quite what it seems.

Lilith’s Love, like its predecessors, blends together myth and history to create a new imagining of mankind’s past and the possibilities for its future. Part Arthurian legend, part sequel to Dracula, the novel stars a legendary cast of characters, including Merlin, Emperor Constantine XI, the Wandering Jew, Dracula, Captain Vanderdecker of the Flying Dutchman, and Lilith herself. Readers will take a magic carpet ride from the Fall of Constantinople in 1453 to the beginnings of a New World Order in the twenty-first century, rewriting a past we all thought we knew to create a future far more fabulous than we ever dreamed.

Arthurian authors and fans have been delighted with each volume of Tyler R. Tichelaar’s The Children of Arthur series. Sophie Masson, editor of The Road to Camelot, praises the first book, Arthur’s Legacy, as “an intriguing blend of action-packed time-slip fantasy adventure, moving love story, multi-layered mystery, and unusual spiritual exploration.” Nicole Evelina, author of the Guinevere’s Tale Trilogy, states of Lilith’s Love, “Tichelaar deftly weaves together history, myth, and legend into a tale that takes the reader on an epic journey through time, connecting characters and events you’d never expect….” And Rowena Portch, award-winning author of the Spirian Saga series, proclaims that the Children of Arthur is for those who “love the mystical magic of Camelot but thrive on the excitement and tribulations of Game of Thrones.”

Tyler R. Tichelaar, Ph.D. is the author of numerous historical fiction novels, including The Marquette Trilogy, The Best Place, and the award-winning Narrow Lives, as well as the scholarly books The Gothic Wanderer and King Arthur’s Children, the latter of which served as research and inspiration for The Devon Players’ upcoming independent film Mordred. Tichelaar is currently writing the final book of the Children of Arthur series, Arthur’s Bosom, to be released in late 2017.

Lilith’s Love: The Children of Arthur, Book Four (ISBN 9780996240024, Marquette Fiction, 2017) can be purchased in paperback and ebook editions through local and online bookstores. For more information, visit www.ChildrenofArthur.com. Review copies available upon request.

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I am delighted to hear that the upcoming film Mordred is nearing completion.

I first heard of the film last year when I was contacted by the South Devon Players Theatre & Film company, which is producing it, and who wanted to tell me about it because half of the cast and crew of the film had read my book King Arthur’s Children as part of their research into Mordred, and then decided to blend him with the earlier Welsh tradition child of King Arthur, Amr, a decision that made eminent sense to me.

mordredfilm

King Arthur will battle his son Mordred at Camlann in the upcoming new film “Mordred.”

The film is being shot in England and was almost completed during the summer of 2016 but some footage still needs to be shot and the production is in need of a little more funding to complete the film.

Please view the trailer for the film at: https://www.youtube.com/watch?v=wiu9ZwwrQ8k

Then please consider making a donation to the film’s indiegogo fund. If you donate, there are numerous cool perks you can receive depending on the donation level you make, including an autographed photo by the star playing Mordred, a special handmade chalice with the Mordred logo on it, and a Mordred T-Shirt with your name on it as a backer of the film.

For more information and to view more video and images, visit: https://www.indiegogo.com/projects/mordred-film-completion-fund-devon-cornwall#/

Mordred - a film promo image

Mordred – a film promo image

Picus the Thief, translated by Robin Bennett, is an original book that takes several traditional storytelling motifs and gives them new life through multiple reimaginings of legends and traditions.

Think of it as fairyland meets Camelot meets Dracula. It’s a little of all of those, and yet not strictly tied to any of them.

PicustheThiefThe title character, Picus, is a vampire, but he’s not your typical vampire—although there is a reference to Dracula as a sort of vampire ancestor—but that’s rather anachronistic—in fact a lot of things about this book are anachronistic. In any case, Picus is not only a vampire but he has fairy-like or, more properly, dragonfly-like wings. He is about the size of your forefinger, and as one of the human characters says when he meets Picus, to Picus’ displeasure, he’s kind of like a mosquito—he can fly and he sucks blood.

Picus is far from a scary vampire. One of his bites probably doesn’t hurt much more than that of a mosquito, so he’s not a bad guy. That said, vampires do think well of themselves; there’s plenty of vampire superiority in this book—a tone that vampires are better than humans—although I’m not sure that that isn’t all vampire propaganda.

To understand why it might be termed propaganda, we have to look at the book’s authorship. It is actually the first book in the Small Vampires series, which will provide a history of the vampires. The book was allegedly discovered in manuscript form in a curious way by Robin Bennett, who explains in the introduction how the strange book in an unfamiliar language eventually came into his hands. After some difficulty he managed to translate it. In short, he learned it was written by vampires, so obviously they will portray themselves in the best light. He also learned that there were people in the world who might be willing to harm him to get their hands on the book, and so he decided to publish it so there would be no one copy that could be stolen from him. All of this is explained in a very engaging way that made me realize that here was the typical eighteenth century Gothic novel technique of the mysterious discovered manuscript, but at the same time, it was written in a fun way that made me feel more like I was entering a playful and mysterious world akin to Narnia or Neverland.

And then the story starts and we are introduced to Picus. It is the year 266 A.D. we are told, which is rather odd and why I say the book is anachronistic since Dracula (if he was first the historical Vlad Tepes) lived in the fifteenth century, and eventually, Picus goes to Angleland at the time soon after the Romans have left—they wouldn’t leave in reality until about 410 A.D. and there were certainly no Angles in England at that time (but this is Angleland not really England). In short, Bennett, whom I suspect is the author despite his claims to being the translator, is writing pseudo-history and consequently everything in this book is “pseudo”—pseudo-vampires and pseudo-Arthurian legend especially.

Despite the vampires’ belief that they are superior to their cousins the Faies (fairies) and to the humans (who may have some distant relationship to both of these more supernatural beings, though the humans are magic-less), the vampires have some issues of their own. At least Picus does. He grew up in a dysfunctional home in which he was asked to murder his Sanguine—a wingless being the vampires have bred as servants and to feed upon. Picus’ refusal to kill his Sanguine led to his flight from home and his mother’s anger. Talk about dysfunction. Before the book ends, this mixed up family turns out to be more like Hamlet’s family than that from any happy fairy tale—come to think of it, most fairy tales do feature dysfunctional families—think of all those evil stepmothers.

Anyway, Picus makes his living as a thief, and we follow him from one theft to another until he finds himself being commissioned to enter the human world and steal the sword Exkylipr, which was forged in the belly of the Chalice and is one of the seven treasures. (Think Excalibur and Merlin collecting the Thirteen Treasures of Britain.) The humans were given the sword many years before, but now the vampires want it back, so Picus is sent to retrieve it. He ends up going to Camelon Castle, but he doesn’t meet any Arthur there. (There is an Art in the book, but he’s a vampire and runs a pawn shop—nothing kingly about him.) Instead, Picus meets an Ambrosias (no uncle to King Arthur but an old lady and the court physician). She is wise enough to know his purpose and eventually befriends him.

I won’t say more because I don’t want to give away the whole plot, but don’t look for an Arthur-Guinevere-Lancelot love triangle in this book, and don’t look for your typical vampires, even though these vampires do have roots in Transylvania and the Carpathians.

Rather, expect a highly original take on old legends that is playful yet not lacking in adventure or even violence. There’s a feel of almost Irish leprechaun trickery here, a dash of Shakespearean revenge tragedy, and some beautiful prose worthy of Hans Christian Andersen. There’s plenty of whimsical creatures, complete with a glossary of them, an essay explaining magic in the vampires’ world, and even plenty of humor. For example, one of the funniest passages for me was “Gargoyles were also generally accepted to be the most nosey, pernickety, prissy and prying species on the planet after cleaning ladies….”

This is not a book for the die-hard Arthurian fan who likes depictions of the historical King Arthur. It’s more for fans who enjoyed the BBC’s Merlin. It’s also not for lovers of dark Gothic lore with all its angst or even the Twilight crowd—I think you’d be more likely a fan of The Addams Family or Young Frankenstein if you like this book—or maybe The Princess Bride. If you love fairies, I also think you’ll love these vampires, but perhaps not the fairies in the book—Queen Mab is about as awful as they come with her necklace made out of male vampire teeth, which has led to her nickname “The Tooth Fairy.” Actually, I loved hating her.

So it’s a little of everything—a little grotesque, a little funny, a little magical, and a little traditional. Plus, it’s a beautifully-designed book—the cover looks like a true lost manuscript or the kinds of books produced at the turn of the last century, and there are illustrations for each chapter, not of the characters, but of flowers and dragonflies that give it the feel of Victorian fairy tale books. I imagine many young adult readers will enjoy it, but adults may also feel here is some of the magic of childhood they knew that hasn’t been lost but only needs to be found again.

You can find out more about the “translator” Robin Bennett and the future books in this series at www.SmallVampires.com

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, and the upcoming Lilith’s Love and Arthur’s Bosom. He has also written the nonfiction scholarly works King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer: From Transgression to Redemption. You can learn more about him at www.ChildrenofArthur.com.

 

Finally, in Volume 12 (1959-1960) we come to the quest for the Holy Grail in the Prince Valiant strip, but not before some rather less-than-exciting adventures in Volume 11 (1957-1958).

PV11

Volume 11 of Prince Valiant.

I’ll admit that Volume 11 was a disappointment overall for me. It begins with a long essay about Pal Palenske, who was likely an interesting man as an advertising executive, but the essay’s point isn’t clear until the very end—that Foster worked with him. I can imagine that it is difficult to keep coming up with new essays for this series, but this one was rather marginal in its connection to Foster. I’ll admit not really being interested in Foster’s advertising work, so many of these essays are rather tedious for me. Of course, Foster’s artwork in his ads was marvelous regardless, but it is all tangential to Prince Valiant, which is the main reason why I read the series, and it’s not even Prince Valiant himself who interests me so much as what Foster did with the Arthurian legends in his strip.

Volume 11 has several adventure stories but some of them feel largely like rehashes of earlier plots. The big treat of the volume is seeing Prince Arn growing up and the adventures he undertakes, but overall, I found nothing worth getting excited over in this volume.

Volume 12 is a different story. First off, I appreciated Neal Adams foreword, which told it like it is. Adams describes his own indifference to the Prince Valiant strip growing up, and he hits the nail on the head in pointing out the strip’s faults. He says that the strip is not a comic book so the story didn’t flow as well. Valiant’s page-boy haircut was also a turn off for him. I have to admit both Valiant’s haircut and also his name are turnoffs. He sounds like some sort of romantic and unrealistic Romeo and he is decidedly lacking a masculine look most of the time. One exception being the opening of Volume 12 when he is enslaved, has his hair cut short, and is shirtless. Then he seems manly enough to be a hero. This raises questions of why the strip still appeals to so many people when the modern reader must see Valiant as sort of girlish and old-fashioned in look; even the 1990s television cartoon series cut Valiant’s hair to make him look more manly. But Adams goes on to discuss how as he got older he saw that Foster’s drawings were far superior to those of other comics—they are more like artful movie stills. He also credits Foster with trying to be historically accurate in his drawings, and I admit that I sit in wonderment at the details of the drawings and even how there will be layers of figures on top of each other which must have been incredibly difficult to draw. My problem is I read more for the story, which just doesn’t always come up to the standards of the artwork.

As for the stories in this volume, it is better than the last volume, although some of the plots are becoming the same old, same old, and tiresome. The major plot of interest is the quest for the Holy Grail. King Arthur asks Valiant to look into the truth of the Holy Grail because many knights have gone off to seek it and not returned, which is hurting the Round Table as Merlin had predicted.

Volume 12 of Prince Valiant, in which Valiant goes searching for the Holy Grail.

Volume 12 of Prince Valiant, in which Valiant goes searching for the Holy Grail.

When Valiant agrees to go, he and Aleta have a fight about it, resulting in his getting mad and spanking her. This act of brutality would not be acceptable in a strip today, and even worse, when Valiant leaves on the quest, ashamed of his behavior and thinking Aleta will never love him again, Aleta confesses to herself that she enjoyed being spanked and thinks of Valiant as “a magnificent beast.” I’m gagging. It’s disgusting to think women find being mistreated by men to be appealing—a sexist view of the time akin to the scene in Gone with the Wind when Scarlett is happy and smiling in the morning after Rhett rapes her. While Valiant and Aleta usually make an attractive couple and Aleta knows how to keep her husband in line, this was not one of her finer moments.

Of course, Valiant and Aleta will patch things up when he returns, but not until after he travels the land to find out information about the Holy Grail. I was both happy with the results of his Grail Quest and also disappointed that there were not more adventures along the way—there is no one achieving the grail—no Galahad or Percival having mystical experiences—but I can only hope this is not the last we have heard of the Holy Grail in the strip and Foster plans to do more with it gradually. The main highlights of Valiant’s quest is his meeting St. Patrick and later the Beaker folk, an ancient people who have been at Stonehenge one thousand years before the Druids. Ultimately, St. Patrick tells Valiant that no one knows whether it’s true that St. Joseph of Arimathea brought the Holy Grail to Britain, so the Grail is probably not a chalice but “ a symbol of faith, courage and hope.” The knights, by questing for it, are spreading the message of Christianity throughout Britain, and that is what is most important. When Valiant returns to Camelot, King Arthur accepts this and decides the quest is a good thing despite how it hurts the Round Table.

This volume ends with Valiant and Aleta returning to her kingdom of the Misty Isles so her people can see Prince Arn, whom she wants to succeed her. Some tension returns between Val and Aleta at this point because Valiant wants Arn to rule Thule after him. The summary for Volume 13 at the end of the book tells us the couple will soon have another son, so I imagine this issue will be resolved.

I admit some of the strip has become boring to me, but yet, I read on, wanting to discover what happens next. As long as Fantagraphics keeps producing these books, I’ll likely keep reading and blogging about them.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, and the upcoming Lilith’s Love and Arthur’s Bosom. He has also written the nonfiction scholarly work King Arthur’s Children: A Study in Fiction and Tradition. You can learn more about Tyler at www.ChildrenofArthur.com.

Today, I will be interviewing Arthurian novelist Nicole Evelina about her new novel, Camelot’s Queen, the second of three books in the Guinevere’s Tale trilogy following Daughter of Destiny. (You can also read on this blog my review of her two novels Daughter of Destiny and Camelot’s Queen and my previous interview with her about Daughter of Destiny.)

Nicole Evelina, author of "Camelot's Queen" about Guinevere's years married to King Arthur.

Nicole Evelina, author of “Camelot’s Queen” about Guinevere’s years married to King Arthur.

Nicole Evelina has spent the last fifteen years researching the Arthurian legend, Celtic Britain, and the various peoples, cultures, and religious practices that shaped the country after the withdrawal of Rome. She is a proud member of the Historical Novel Society.

Nicole holds a B.A. in English and an M.A. in media communications, as well as accreditation from the International Association of Business Communicators (IABC), a distinction that tests writing and communications skills, and is held by only 8,000 people worldwide. Her goal in writing Arthurian fiction is to create a strong female protagonist in the person of Guinevere in the series. And it looks like she’s succeeded because Daughter of Destiny has so far won:

  • Book of the Year – Chanticleer Reviews
  • Gold Medal – Next Generation Indie Book Awards
  • First Place, Legacy/legend category – 2015 Chatelaine Awards for Women’s Fiction/Romantic Fiction

Short list – 2015 Chaucer Awards for Historical Fiction

SelectedLibrary Journal’s curated SELF-e Select module

Hopefully, we’ll find out Nicole’s secret for writing great Arthurian fiction here today.

Tyler: Welcome back, Nicole. I’ve been anxious to find out what happens to Guinevere, and I wasn’t disappointed in the second book in the series. The first book, Daughter of Destiny, focused on the years leading up to Guinevere’s marriage, which are usually fairly ignored by Arthurian writers, but this second book follows the main tradition from her marriage to King Arthur until Lancelot rescues her from being burnt at the stake. Consequently, you had a lot more material to work with here, but also less license to be wholly imaginative, so would you say writing Camelot’s Queen was easier or more difficult as a result?

Nicole: Thanks for having me here again. Always a pleasure! To answer your question, it made it easier and harder. Having more source material gave me more to work with, but I also had more to cull through and in the early drafts, I had a tough time bringing focus to the book because I wanted to cover everything. It also means readers have a lot more expectations coming into this book than they do with the others, so I had to keep in mind both the story I wanted to tell with what most people would expect, and if I was going to change something, give them a darn good reason for it.

Tyler: One of the most detailed sections of the book concerns what happens when Guinevere is abducted by Malegant. You made a lot of interesting changes to the story in this section that I thought made it very powerful. What made you decide to tell the tale in the way you did here?

Nicole: I felt like it was part of the tradition that couldn’t be ignored. Here I am telling this woman’s life story from her point of view, so there’s no logical way to skip over it without the gap being really obvious. I kept in mind the tenant that “every villain is the hero of their own story” when creating Malegant and defining his personality and back story. I wanted the reader to be able to understand why he did the terrible things he did and that in his mind, he was in the right. He wasn’t just some mustache-twirling villain who was there because tradition dictated it; he had an untapped back-story, just like Guinevere.

As for the changes around Arthur and Morgan’s roles, without spoiling anything, I’ll say I did that because I wanted to do something other than have her be his sister. When I eliminated that possibility, I had to think hard about what their relationship would be and how that would impact the rest of the story. What would make these characters still act in accord with tradition? Luckily for me, Celtic law provided the perfect answer.

Tyler: Did you have a favorite scene or section in the novel that you enjoyed writing?

Nicole: The whole section around Guinevere’s kidnapping is my favorite, hands down. But I also love three of the scenes with Aggrivane: when he and Guinevere talk after he comes back to Camelot, what happens after Lancelot is invested as champion, and their scene together right before the burning.

Tyler: While most of the characters will be familiar to readers of Arthurian books, you do introduce some new characters such as Sobian. Why did you decide to create her?

Nicole: She created herself, believe it or not. Originally, she appeared when Arthur, Guinevere and a group of knights were traveling around the kingdom, visiting all of the people, much like the famous progress Queen Elizabeth I made around England every year. When she popped into my head she was very mysterious, and much like I had to do with Arthur, I had to force her to open up and give me a clue who she was. Obviously, that section evolved over various drafts, but Sobian remained. I think that it is important for you to see someone from Arthur’s past and know that he had a life, lovers, friends, before he became king. She’s also an incredibly strong woman, one who adds to the court tremendously, while also helping keep the men in check.

Tyler: I think one of my favorite scenes in the novel was how you treated the Holy Grail when it is first discovered. Will you tell our readers a little about that scene and what your goal was with it?

Nicole: Do you mean the scene where they all see it for the first time? For those who haven’t read it, the grail changes form so that everyone sees it according to their own faith or cultural tradition. So a Christian sees the traditional chalice, while a pagan sees a cauldron or a drinking horn, depending on their background, etc.

It was important to me that whatever I do, I not take away from or slight anyone’s personal idea of the grail. It has been so many things over the years—a cauldron, a drinking horn, a stone, a chalice, a cup, even Mary Magdalene—that I wanted every reader to be able to see their own beliefs reflected in it, just as the characters do. Regardless of whether or not the grail actually exists, it’s a powerful symbol to so many people and I wanted my version to represent unity through diversity.

"Camelot's Queen," the second book in Nicole Evelina's trilogy about Guinevere, covers the years of Guinevere's marriage to King Arthur.

“Camelot’s Queen,” the second book in Nicole Evelina’s trilogy about Guinevere, covers the years of Guinevere’s marriage to King Arthur.

Tyler: I was struck that Bishop Marius plays a rather villainous role in the novel. It seems quite common in Arthurian literature, at least since Bradley’s The Mists of Avalon, for Christianity to come off negatively. Do you think that’s a fair statement and why do you think the negative depictions of Christianity in the legend are so popular today?

Nicole: I love Bishop Marius. He is so much fun to write.

I do think it’s a popular way to portray Christianity. I’m not sure what reason other authors have for that, but I would guess it may have something to do with Christianity representing the establishment and people being tired of it. Therefore, they glorify the other, which in this case is paganism.

For me it was more a matter of exploring the tension between pagan religions and Christianity at the turn of the fifth/sixth century, which is when these books are set. Yes, Marius is evil, but that’s because there have always been orthodox and power-hungry men in the Church, no matter the time period (Cardinal Richelieu in the 1600s comes immediately to mind as an example of the power hungry). With the conflict between the old and new religious being what it was, there no doubt would have been those zealous souls who wanted to wipe out all trace of the old religion.

That doesn’t mean that all of them are evil, however. That’s why you see a bit of Father Dafydd, who is one of the good men of the Church. He originally had a larger part, but even with what remains in the story, I hope you can see that he represents the positive side of the Church.

Tyler: I also find Morgan a fascinating character, and I love how she continues to thwart Guinevere throughout the series. Will she continue to play a role in the third novel, and will we ever find out the secret of her parentage?

Nicole: Yes, she’s definitely in the third book. As of right now I do plan on revealing who her parents are, but because the book isn’t finished, I can’t 100% guarantee that will stay in. But I bet it does.

Tyler: I hope you do leave it in. I can’t wait to find out. You’ve also stated that you wanted to create a strong female protagonist in this series, but at times, I admit that Guinevere seems a little too hot-headed and even childish, and I think as the author you were aware of that since even Merlin tells her she’s selfish at one point. Do you feel like she’s always justified in her behavior, or is she just fallible like the rest of us?

Nicole: Oh no, she’s not always justified. She’s flawed just like the rest of us, which I hope makes her more relatable. If you think about the way she was raised, her selfishness makes sense. She was the treasured only living child of parents who suffered much disappointment and loss as they watched a dozen children die at various points in life. So from the beginning she had only to think of herself. Then she was sent to Avalon, which was an honor not bestowed upon many. Granted, while she was there she had to learn some humility and how to live with others, but not long after she leaves she becomes queen. This role elevates her above all others and helps her default selfishness kick back in again. It’s only over time that she matures and learns to see beyond her own nose.

Tyler: I know you have another book coming out soon not on an Arthurian topic but on Victoria Woodhull, the first woman to run for U.S. President, back in the nineteenth century. I admit I never heard of her until I heard about your book, so will you tell us a little about this other book and why you chose this non-Arthurian topic since I suspect you see Woodhull as not too dissimilar from Guinevere as a strong woman?

Nicole: Sure. I picked Victoria exactly because she is a strong woman and those are the type I aim to portray in my writing. I found out about her by accident. I saw a pin on Pinterest of a beautiful woman who caught my eye. When I read the caption, I knew I had my next book subject. It said “Known by her detractors as “Mrs. Satan,” Victoria Claflin Woodhull, born in 1838, married at age fifteen to an alcoholic and womanizer. She became the first woman to establish a brokerage firm on Wall Street and played an active role in the woman’s suffrage movement. She became the first woman to run for President of the United States in 1872. Her name is largely lost in history. Few recognize her name and accomplishments.”

I hadn’t learned anything about her in school, and I suspected many others hadn’t either. So I wanted to do what I could to restore her to her rightful place in history by telling her story. She’s a woman of many accomplishments including being the first woman to run a stock brokerage on Wall Street, the first woman to testify before Congress, one of the first women to run a weekly newspaper, and the first female presidential candidate. Her family is crazier and pulls more stunts than I could ever make up. (Truth really is stranger than fiction.) And while Victoria is certainly no saint, I think people will enjoy reading about her.

Tyler: Nicole, for authors, writing can be a lonely task and you work on your books for years hoping people will like them. How has your view of writing changed since you’ve now published these first two Arthurian novels and have you learned anything from the feedback you’ve received from readers?

Nicole: It’s been a while since I’ve thought of writing as lonely, thanks to the amazing writing online community, especially on Twitter. But I will admit to feeling a bit more pressure now that I know people like the first two Guinevere novels. I always wanted to end the series strong, but now I feel like I owe my readers a great story, rather than just owing it to Guinevere or myself. That’s both good and bad in that it’s motivating, but could turn paralyzing if I think about it too much.

I’ve learned from readers that there has been a thirst for stories about Guinevere that’s gone untapped for a long time. My story has been what a lot of people were looking for. But not all. That’s another thing I’m learning—no book can satisfy everyone. Readers will sometimes read things into books that aren’t there or that you don’t intend; that can color their feedback and there’s nothing as the author you can do about it.

Tyler: Thanks again for joining me today, Nicole. Before we go, will you remind us when the last book of the Guinevere’s Tale trilogy will be out, and what your website is so we can watch for it?

Nicole: Thanks again for having me! The last book in the trilogy, Mistress of Legend, will be out in early 2017. I don’t have a firm date yet. My website is http://nicoleevelina.com/. I’m always happy to hear from readers by email, snail mail or on social media.

Camelot’s Queen is Nicole Evelina’s new novel and the second in the Guinevere’s Tale Trilogy. Evelina’s first novel, Daughter of Destiny, introduced readers to a new version of Guinevere, focusing on a part of the story often ignored—her childhood and youth in the years prior to her meeting and marrying King Arthur. Evelina gave us many surprises in that novel, from a childhood spent in Avalon to a lover no one would have expected. Consequently, when Guinevere’s marriage to Arthur is arranged, she is not happy to be parted from the man she truly loves.

Camelot's Queen, the second book in Nicole Evelina's trilogy about Guinevere, covers the years of Guinevere's marriage to King Arthur.

Camelot’s Queen, the second book in Nicole Evelina’s trilogy about Guinevere, covers the years of Guinevere’s marriage to King Arthur.

Camelot’s Queen picks up with Guinevere’s wedding to King Arthur and covers most of her adult life. Never fear, she still has her love affair with Lancelot, is accused of treason, nearly burnt at the stake, and at the end of the novel, is rescued by Lancelot, leaving the door open for what will happen in the upcoming third novel. However, while Camelot’s Queen focuses on the more mainstream events of Guinevere’s life, Evelina clearly makes it her own, not only in her depiction of a feisty, sometimes hot-headed and selfish, sometimes wise, Queen Guinevere, but also in how she rewrites traditional parts of the legend such as Guinevere’s abduction by Malegant and the Quest for the Holy Grail. Evelina also creates new characters such as Guinevere’s new and unwanted female bodyguard, and she realigns other characters’ roles, especially that of Morgan, who is Guinevere’s rival.

For the most part, this is a realistic novel, although Evelina uses Celtic cultural influences in the story with just a touch of magic to them; for example, Guinevere’s training in Avalon allows her to have some small control over the elements, such as being able to create clouds and make it rain.

Evelina also gives a new spin on the conflict between Christianity and Paganism that has become mainstream to the legend in recent years, but no one would have suspected that Morgan, of all people, would convert to Christianity while Guinevere holds out against it—how that situation develops is quite stunning and to explain it here would be to take away pleasure from the reader. I will say, however, that I found this element the most interesting theme in the novel, and I was especially impressed by how Evelina treats the Holy Grail in relation to it.

An Author’s Note at the end gives some of Evelina’s reasons for the changes she made to the traditional storyline as well as insight into her extensive research into the Arthurian period, including visits to Arthurian places and consulting with Arthurian scholar Geoffrey Ashe.

As an Arthurian novelist myself, I found Evelina’s interpretations sometimes surprising, but usually dramatically effective. Her choices were certainly interesting, and not being a purist—why read Arthurian modern fiction if you are?—I was often delighted with her choices and her imaginative realigning of many Arthurian characters and themes. I especially found the family lineages and characters’ relationships interesting because Evelina uses them to explain some often confusing aspects of the legend, including the connections between the different nobles and royals of Cornwall, as well as Arthur’s own family tree and his relationship to Morgan. The book also moves at a quick pace—in a few places a little too quick I thought where I would have liked more details—but Evelina provides plenty of details in the key scenes, and in some of the places where I wanted more, I suspect Evelina intentionally held back to build up suspense for the third book in the series, Mistress of Legend, which will be published in 2017.

Anyone who loves strong female protagonists—or let’s face it, the Arthurian legend—will find plenty to enjoy, ponder, and discuss in Camelot’s Queen.

For more information about Nicole Evelina and Camelot’s Queen, visit her website at www.NicoleEvelina.com

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, and the upcoming Lilith’s Love and Arthur’s Bosom. He has also written the nonfiction scholarly work King Arthur’s Children: A Study in Fiction and Tradition. You can learn more about him at www.ChildrenofArthur.com.

Despite the old adage, people always do judge a book by its cover, and so, in publishing The Children of Arthur series, I wanted the books’ covers to reflect the themes and atmosphere of their contents. Many fine graphic artists are out there, but I opted instead to use nineteenth century depictions of legendary figures that fit the individual book titles and which placed me within the literary and Romantic tradition I was modeling. I strongly believe I am trying to capture a somewhat more modern and progressive version of the Arthurian legend akin to what Pre-Raphaelite painters did in their art and nineteenth century authors like Alfred, Lord Tennyson and William Morris captured in their Arthurian poetry. Below is a description of each cover—and how it relates to the series overall.

Cover-ArthursLegacyArthur’s Legacy: The Children of Arthur, Book One

Cover Image: The Death of King Arthur (1860) by James Archer (1822-1904)

For me, no painting is more quintessentially Arthurian than this one, which captures the pivotal moment that transforms Arthur from a king into a legend. This may well be my favorite painting of all time. For me, it captures the great moment of reconciliation in the novel when Arthur has been wounded at Camlann and is about to be carried off to Avalon. Both Morgana and Guinevere come and make their peace with him, and Elaine also comes and makes her peace with Bedwyr, Guinevere’s lover. Of course, as we all know, despite the grief in this scene, Arthur is carried to Avalon to be healed of his wound, and there he resides until the day he will be called upon to return. This moment reminds us that he will return, and hence, his legacy is one of hope and immortality, much like that of Christ, who also plays a role in the novel.

Cover-MelusinesGiftMelusine’s Gift: The Children of Arthur, Book Two

Cover Image: The Fair Melusine (1844) by Julius Hübner (1806-1882)

Many images of Melusine have been painted over the years, but most, being medieval in look, fail to capture the Romantic style, depicting her in unflattering ways largely as a flying serpent. This painting is by a nineteenth century German artist and contemporary of the British Pre-Raphaelites, whose images fill the covers of all the other novels except this one and that of Ogier’s Prayer. To me, this painting was far more beautiful and positive than any other depictions of Melusine. It depicts the magic of Melusine as a mermaid. Some people told me it was too risqué for the cover, so I asked my cover designer to make one small change and move up Melusine’s arm to cover her nipple. Others thought it was creepy that a man is spying on Melusine—he is actually her husband, Raimond. By putting him on the back cover and wrapping the image around the book, I hoped to eliminate the creepiness and only provide the wonder as the first sensation the viewer experiences, and then upon flipping over the book, Raimond can be seen, which adds to the dimension and wonder of the story. This moment is pivotal because Raimond promised Melusine that if she married him, she could hide herself away in private every Saturday and he would not disturb her. When Raimond breaks his promise, Melusine is forced to leave him, but in Melusine’s Gift, I have made that moment not one of shame and curses, but one of wonder and expansion of knowledge. It is only then that Raimond learns what Melusine’s gift truly is.

Cover-OgiersPrayerOgier’s Prayer: The Children of Arthur, Book Three

Cover Image: The Flying Carpet (1880) by Viktor Vasnetsov (1848-1926)

In Ogier’s Prayer, Ogier the Dane, one of Charlemagne’s great knights, is carried on a magic carpet from the fabled land of Prester John to the court of the Caliph Haroun al-Rashid in Baghdad—and you can imagine the reactions of the people of Baghdad when they see him making his entrance in truly grand Arabian Nights style. This painting actually depicts the Russian folklore hero Ivan Tsarevich. However, I felt the scene of Ogier the Dane on a flying carpet was the most visual scene in Ogier’s Prayer so I sought for a flying carpet painting, and when I found this one, I thought it breathtaking. Yes, Ogier would be blonde, not dark-haired, but I imagine his years in the hot Middle East helped to darken his hair and complexion. In the painting, Ivan is carrying a magical firebird with him on the carpet, but if I hadn’t read about the painting, I would have just thought it a lantern, so I thought it close enough for the cover art I desired, and it gave the same feel and matched the Pre-Raphaelite and Romantic style of the other covers.

Cover-LilithsLoveLilith’s Love: The Children of Arthur, Book Four

Cover Image: La Belle Dame Sans Merci (1902) by Sir Francis Dicksee (1853-1928)

These last two covers are both by Sir Francis Dicksee, one of the best known of the Pre-Raphaelite artists. This first one depicts La Belle Dame Sans Merci, a popular theme of the Pre-Raphaelites. I know of at least two other depictions of her from this period, but this is the most fabulous one. Her name means in French, “The Beautiful Woman Without Mercy,” and she is based upon John Keats’ famous poem of the same name in which a supernatural woman takes a young man for her lover one night, and when he wakes in the morning, he finds that he has spent decades with her and is now an old man. The image was perfect for this book’s cover because Lilith is the primary antagonist of The Children of Arthur series and highly sexual, taking lovers so she can control them. In Jewish tradition, Lilith was the first wife of Adam; she was cast from Eden, and consequently, in The Children of Arthur series, she wants her revenge upon Adam and Eve’s descendants. But she also has a gift to give the world if the world would only quit fighting her—that of love. And so the novel’s title is a play both on the gift of her love and the man she loves. I thought the painting appropriate for the cover because the stunned looking man captures perfectly how the man she takes for her lover in the end must feel—and yes, he turns out to be a true and chivalrous knight.

Cover-ArthursBosomArthur’s Bosom: The Children of Arthur, Book Five

Cover Image: The Two Crowns (1900) by Sir Francis Dicksee (1853-1928)

I had the most difficulty in finding an image for this final book in the series, largely because I had only started to draft the novel at the time so I didn’t have a full idea of what it would be about yet. Then one day I stumbled upon this painting and knew it was perfect. This final novel depicts the return of King Arthur, and so what better to have on the cover than a king? It wasn’t until I saw the painting’s name that I even spotted there were two crowns in it—yes, the second is Christ with his crown of thorns. As with the cover for Melusine’s Gift, I decided to wrap the image so the back would surprise readers. In doing so, I had to have the image reversed since, originally, Christ was on the right side, and I wanted him on the back of the book. Only when you turn the book over then do you see that the king is looking at Christ and, therefore, is meditating upon what a true king is and what it means to wear a crown. It felt like it was destiny that I would find this painting, for at the same time, I first heard the theories of how Christ’s cross was brought back to Britain by the Empress Helena, and so that story and this painting with its depiction of Christ on the cross really inspired the writing of the novel. In the novel, my main character goes upon a quest to find the True Cross and by doing so, he helps to bring about King Arthur’s return. As for the book’s title, it refers to a line in Shakespeare, a play on the biblical phrase of “Abraham’s Bosom,” which is a reference to heaven. In the novel, the main character finds himself in what might be termed a type of Arthurian heaven.

I hope my choice of cover images inspires my readers and complements the primary theme of the Children of Arthur series, which is:

Imagination is the Salvation of Mankind.

May these books and their covers lead you on your own fabulously imaginative and world-changing journey!