Prince Valiant: Vols 16 and 17

The Prince Valiant saga continues in Volumes 16 (1967-1968) and 17 (1969-1970) published recently by Fantagraphics. I’ve decided to review both volumes in the same blog post because, frankly, not a lot of interesting things happen in the two volumes worth mentioning. That is not to say that there aren’t plenty of adventures, but a lot of it is the same old kind of storylines that have been in the strip for the past thirty or so years by this point.

Prince Valiant 16 includes Valiant having to settle a dispute over who is heir to an earldom and Valiant having to rescue Gawain when he is captured, which includes a trip to the Misty Isles along the way.

Of course, the Foster fans are legions, and Foster deserves all the praise he gets for his fabulous illustrations. He also deserves credit for his ability to create story arcs that kept readers interested week after week. Personally, I think I would have gotten bored reading the strip that way, so I prefer to read it in a volume that covers two years at a time and takes me about two hours to read, so I usually do it in one or just a few sittings.

I, like all the Foster fans, and I am a fan, but not a super fan, love staring at the images of castles and all the breathtaking landscapes he draws. I also enjoy looking at the attractive knights and ladies, and the more sinister facial expressions of the villains and the scarier places, from fens to caves and dungeons, that Foster creates. As I said, the artwork is fabulous.

The storylines, though, become tiresome as Val or Aleta trick one more scoundrel after another, or young knights and ladies overcome impediments to their love affairs. The saving grace of these volumes for me is watching Val’s four children growing up. Arn is now almost a man and the artwork shows his expressions ranging from boy to man, a sign he is going through puberty. The twin girls, Karen and Valeta, are becoming boy crazy, and even young Galan is ready to give up his toys for weapons—one of the most charming moments in the strip is in 8-25-68 when he uses a sword to cut up his mother’s flowers.

However, one gets the sense that even Foster was getting bored by this point. In 1967, the character of Reynolde gets a lot of attention for several pages, but then is quickly written out as a new story starts and I suspect Foster just got sick of him. In 1970, several different weeks the strip was drawn by other artists, as the essay in the back of the book explains, because Foster was looking for his replacement. He would end up choosing John Cullen Murphy.

Prince Valiant 17 includes Val’s son Arn going off on his own adventures and Val’s son Galan trying to catch a unicorn. Plus, Val has to face the magic of Morgan le Fay.

For me, the two treats of these volumes was the accompanying essays. In Vol. 16 the essay at the end talks about a parade in New Orleans in 1938 in which a Prince Valiant float was first featured, and then in 1939, the entire parade was devoted to the strip, each float depicting different scenes from the story—the pictures of the float make me long for the old days when parades still had gorgeous floats. In Vol. 17, the opening essay by Brian Kane talks about Foster’s use of humor in the strip. Kane breaks it down into several types of humor, which felt a bit labored to me, but I think what I most enjoy, aside from the pictures, is the humor of the strip so I enjoyed reading this essay. Certainly, Aleta and Val are both experts at trickery to resolve a situation in a humorous manner or get themselves out of trouble. Vol. 17 ends with a series of drawings Foster did as a child between ages nine and eleven. These were also quite interesting because they showed how even at such a young age, Foster was not only a talented artist but thinking about story arcs and incorporating drama and humor into his work.

Overall, both volumes will be enjoyable to lovers of Prince Valiant. I am personally eager to read the next volume when John Cullen Murphy took over the art for the strip while Foster continued to oversee and write scripts for it. It will be interesting to read this volume and the ones to follow to see how Prince Valiant changed.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

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Interview with Nicole Evelina About Her New Book “Mistress of Legend: Guinevere’s Tale, Book Three”

I’m pleased to welcome back Nicole Evelina, author of the Guinevere’s Tale trilogy. Nicole has been a guest here in the past when I interviewed her about her previous books in the series, Daughter of Destiny and Camelot’s Queen. Reviews of those books and my previous interviews with Nicole can all be found here at ChildrenofArthur.com. Before we get into today’s interview, here’s a little background information about Nicole.

Nicole Evelina, author of the Guinevere trilogy

Nicole Evelina has spent the last nineteen years researching the Arthurian legend, Celtic Britain, and the various peoples, cultures, and religious practices that shaped the country after the withdrawal of Rome.

Nicole holds a BA in English and an MA in media communications. Her previous novels have won multiple awards, including two Book of the Year designations and the North Street Book Prize. Her non-Arthurian works include Madame Presidentess, a historical novel about Victoria Woodhull, the first American woman to run for president way back in 1872, and Been Searching for You, a contemporary love story. Nicole is a proud member of the Historical Novel Society.

Tyler: Welcome, Nicole. I’m delighted to have you back, and I have to say I was completely wowed by how you ended this trilogy. For starters, will you tell us why you decided to have Mistress of Legend continue Guinevere’s story beyond the Battle of Camlann?

Nicole: I’m so glad you liked it! My goal in writing the trilogy was to explore Guinevere’s whole life, not just the parts that include King Arthur. So, just like I covered her youth in Daughter of Destiny, I wanted to shed light upon her life after the fall of Camelot in Mistress of Legend. Guinevere was her own woman, independent of the men history associates her with, and it was important for me to show that in order to dispel the long-held belief that she couldn’t function once Arthur died. She still had very much living to do, thank you very much.

Tyler: To my knowledge, Parke Godwin’s novel Beloved Exile (1984) was the only other Arthurian novel to tell Guinevere’s story after Camelot’s fall. How would you say your book or your vision for Guinevere was different from Godwin’s?

Nicole: Oh, I loved that book! It was one of the two (along with Marion Zimmer Bradley’s Mists of Avalon) that really influenced my portrayal. I loved that Godwin made his Guinevere a strong, intelligent woman. It gave me the courage to do so as well. That being said, I didn’t think it very likely that the queen of Britain (SPOILER ALERT) would be taken captive as a Saxon slave as she is in Beloved Exile. The idea rang very false with me as a reader. I went in a different direction because of that, but also because of the backstory I had given Guinevere and her mother. I wanted to bring the series full circle by connecting her with her heritage. Also, it was important to me that she not seek the throne of Camelot, as she has done in other novels. After all she’s been through, my Guinevere is tired of politics and war, though she does get pulled back into both just by the nature of her former position.

Tyler: Your Arthur comes off looking somewhat weak and ineffective at the end of the novel? What were your goals in your depiction of Arthur, especially as a contrast or complement to Guinevere?

Nicole: I don’t know that I would necessarily characterize him as weak. He’s more lost and confused. Father Marius’ betrayal and its almost-deadly consequences have shaken him to his core, resulting in a king who is not only unsure of himself, he’s also for the first time being doubted and mistrusted by his people. We tend to think of Arthur as this superman, this all-powerful, almost godlike figure, but I wanted to portray him as very much human, prey to insecurities and crippled by pain just like everyone else. Whereas the events of Camelot’s Queen brought Arthur to a breaking point, Guinevere was able to use the calamity to strengthen herself all the more. In many ways, the series is about how two very different personalities process adversity. As we see in the previous books, Arthur can handle external political challenges just fine, but he is incredibly vulnerable when it comes to matters of love and emotion, especially where Guinevere and Morgan are concerned. Guinevere’s trial and sentencing and the role Morgan may or may not have played deeply affect both women, and in many ways that is Arthur’s Achilles’ heel. Guinevere, on the other hand, is more used to emotional upheaval, having dealt with so much of it in her past. As we see in Mistress of Legend, it is the external, political aspect of her role that she struggles with, despite her years of experience. If you think about it, that makes sense because she never intended to become queen, much less contemplated ruling Camelot without Arthur, so she wasn’t exactly prepared for the role fate thrusts upon her (once again) and we see her struggle with that.

Tyler: Did you find it easier or harder to write the parts of the novel that are not based deeply in the Arthurian legend?

Nicole: Easier. There aren’t nearly as many expectations involved in the parts of the story that aren’t part of the cannon of the Arthurian legend. That means I was able to let my imagination run free and use history as a guide to direct where Guinevere’s story went—when the characters weren’t totally throwing me for a loop, that is.

Tyler: I was fascinated by the role of religion in the novel, especially at one point when Guinevere decides to start praying to the Virgin Mary even though she doesn’t believe in Christianity. What kind of message about religion were you trying to convey in the novel?

Nicole: One of the things that was important for me to explore in this series is the conflict between paganism (in this case Druidism) and Christianity in the early Dark Ages. This was a very real, historical struggle that affected hundreds of thousands of people. I was able to use Guinevere’s paganism as a way to explore the old ways that were dying out and show the rise of Christianity through Arthur and his conversion from the cult of Mithras. It’s a well-established fact that in converting pagan peoples, the Catholic Church adopted or subsumed many pagan deities and traditions. One of these was the idea of a divine mother-figure. Paganism was polytheistic, and many versions included the worship of one or more goddesses, who were naturally identified with motherhood, given that is a uniquely female role. To lose that portion of their faith would be untenable to the people they were trying to convert, so the Church encouraged veneration of (although not officially, worship, but I suspect many common people did in fact, worship) Christ’s mother, the Virgin Mary.

Throughout the books in this series, Guinevere is highly aware of the similarities (and differences) between Christianity and her own faith. When she is at her lowest point, when she feels like everything and everyone she has ever loved has been taken away from her, including her own identity, she naturally turns to this mother-figure, just as we as children cry to our human mothers. At the time, she is in a Christian convent (and very hurt by what she sees as abandonment by her own gods and goddesses), so she seeks refuge where she can, at the feet of the Blessed Virgin. Some readers may note that in The Mists of Avalon, Morgaine has a similar experience, but I want to be clear that unlike Morgaine, Guinevere never considered converting to Christianity. She is very much aware that the Christian faith is not for her, yet she sees echoes of her own mother goddesses in the Blessed Virgin, and, therefore, finally gives herself permission to turn to her in time of grief, adding another goddess to her personal pantheon.

Tyler: Guinevere is not the only strong female character in the novel. She comes into conflict multiple times with other strong women, including Morgan, Evina, and Elga. Will you tell us why you included them in the novel, especially since the latter two are your own creation?

Nicole: While this book is Guinevere’s story, it would have been very boring if Guinevere was always right and always had all the answers. I’m seeking to portray her as human, so she has to have adversaries and foils, just like we all do. I also wanted to show that she was not the only woman to be reckoned with in Dark Ages Camelot, a time when respect for women was within bardic, if not living, memory. I also wanted to explore the different peoples of Britain at the time, so I needed a strong Saxon (Elga) and a strong Votadini (Evina) to compare and contrast with Guinevere. All three women have very different moral compasses and different approaches to power, which is part of what I think makes them work so well together, as well as what helps enrich the world of the book.

Mistress of Legend tells a new story of what happened to Guinevere after Arthur’s passing.

Tyler: Typically, after Camelot’s fall, we are told Constantine became King of Britain. You mention Constantine, but he plays only a minor role in the novel. What would you say was the state of Britain after Arthur’s death and what challenges did you face in depicting that situation?

Nicole: I think Britain would have been in total chaos. No one expected Arthur to die so young, and for his heir to die at the same time would have been unthinkable. There really would have been no blueprint for how to move forward. Add to that the fact that many, many power-hungry men (and maybe a few women) would have seen this as an opportunity for advancement, one which they would use any means to achieve, and you have a recipe for civil war.

One of the main challenges for me was that my story is one of women and they aren’t the ones history typically remembers, so I had to construct their story based on what might possibly have happened. Another challenge was helping readers to understand and remember the complex political situation of the time. It took me a long time to get it straight, and I have all the resources at my fingertips, whereas readers have only what I can reasonably put into the story without messing up the narrative flow. My answer to that was to try to simplify it down to a handful of key players and get readers truly invested in the roles that each person plays so they were more likely to remember who was who.

Tyler: I’m frequently asked questions about the Arthurian legend on Quora, and one question I was recently asked was “Why do you think so many retellings of the Arthurian legend fail?” How would you answer that question, and what do you think you’ve done to make yours succeed?

Nicole: Well, as with any type of book, some are just poorly written or constructed, but I think many fail because they simply retread the same old material over and over. That gets boring very fast. I have had purists criticize me for taking the story in another direction than the one they treasured/expected, but if you don’t add anything new to myth and legend, it can’t grow. As we see over and over in the evolution of the Matter of Britain, each author who has come down to us through time has added his or her own mark to the traditional story, fleshing it out, changing it to meet the needs and expectations of his or her time. This is what gives it life and keeps it from becoming irrelevant. As you can tell, I’m rather passionate on this subject; I actually wrote a book on how Guinevere has changed over time, The Once and Future Queen: Guinevere in Arthurian Legend.

Only time will tell whether my books succeed or fail, but I believe I have given them a strong shot at success by doing just that, taking the character of Guinevere—and with her, the rest of the Arthurian legend—to places previously unexplored. For example, few authors have asked the question “What was Guinevere’s life like before she met Arthur?” or “What did Guinevere do after Arthur’s death? What if she didn’t take the easy way out and become a nun?” I sought to answer those questions as my way of adding to the time-honored story.

I think two other things may help my books last. One is that I created a Guinevere who can stand up to the scrutiny of feminism and the #MeToo movement. She is a strong woman for a new generation. While she’s not perfect and she has her moments of being used (especially as a political pawn in Daughter of Destiny and Mistress of Legend), she certainly is no one’s docile doormat and she finds ways to make the most of what life hands her, which is something everyone struggles with. The other thing that I hope will help my books is that they are very much anchored in the history of the late fifth and early sixth centuries. That means they have a chance of remaining relevant as a way to experience and understand that mysterious time period, if nothing else.

Tyler: Now that you’ve finished your trilogy, do you think you’ll write anything more about the Arthurian legend, either in fiction or non-fiction?

Nicole: Yes, I do. I’m planning to eventually write Isolde’s story, which already has a good head start given that I have something like 40,000 words that I cut from Camelot’s Queen that help tell her tale. Sobian, my fictional pirate-turned-assassin, wants her own novel, so that is on the horizon, and I’m toying with the idea of telling Morgan’s side of the story, given that there is so much that happens with her off the page in this series. I’d also love to play with how she sees herself versus how Guinevere saw her, and I want to find out what else happens to her daughter, Helena, whom we meet in Mistress of Legend. I see each of those being their own book, so there may well be another trilogy in the future.

I also really want to do a series guide/companion guide that gives you a behind-the-scenes type look at the world of my Arthurian books and goes into detail about many of the aspects of my world and its characters. I think I likely will end up crowdfunding that one.

Unfortunately, none of these are top priority at the moment because I need to switch my focus to books that will hopefully land me a traditional publishing deal and finance these future Arthurian dream children of mine, which likely will all be self-published.

Tyler: They all sound like fascinating books, though, Nicole, and I’ll be eager to read them. But what projects are you currently working on?

Nicole: As I said above, I’m looking toward traditional publishing. I am currently researching sample chapters for a non-fiction proposal for a book on the history of feminism in the United States, which I’d really like to release in August 2020, to coincide with the centennial of women getting the right to vote in the U.S. On the fiction front, my next novel will be a biographical historical exploration of a little-known World War II heroine who was a French nun who worked for the resistance. I can’t wait to share her story with the world!

Tyler: Those sound awesome too. I can’t wait to read them. Thank you again, Nicole, for joining me. I have no doubt Mistress of Legend is going to be another award winner for you. Thank you for helping us see the Arthurian legend in new ways through Guinevere’s eyes, and best of luck with all your future books.

Nicole: Thank you. And thanks so much for your support and enthusiasm along the way. Friends and readers like you make the writing journey so much easier. I’m so glad we have been able to share our passion for the Arthurian legend!

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

 

Nicole Evelina’s Guinevere Trilogy Comes to Gripping and Gorgeous End

If you only read one new Arthurian novel this year, make it Mistress of Legend by Nicole Evelina. Of course, since it’s the third in a trilogy, you may first want to read Daughter of Destiny and Camelot’s Queen. But what makes this novel stand out, besides Evelina’s wonderful writing abilities, is that it tells Guinevere’s story after the Battle of Camlann.

Mistress of Legend tells a new story of what happened to Guinevere after Arthur’s passing.

The novel opens right after Lancelot has rescued Guinevere from being burnt at the stake. Warning, there will be some spoiler alerts here, but I won’t give away the big stuff. Guinevere and Lancelot are pursued, and Guinevere is told she is pardoned and can return to Camelot. When she returns, she learns that Arthur had been poisoned so that he would not be in his right mind and aware of the “justice” being carried out. Arthur had not wanted a death sentence for Guinevere, but Father Marius went ahead with it. Once pardoned, Guinevere finds herself thrust into the role of being Marius’ judge, having previously dispelled justice at Camelot. Although she is more merciful than Marius, her mercy turns out to be for naught when Arthur must travel to Brittany, leaving Mordred in charge.

Of course, Camelot’s downfall follows, but despite the familiar trappings of the story, Evelina does a wonderful job of telling the novel through Guinevere’s eyes even when she cannot witness the events. We see the Battle of Camlann in one of the most moving and original versions I’ve ever read. I love how Evelina places Guinevere at the battle even when she is not really there—you’ll have to read it to understand.

After Camlann is fought, the novel is only about a third of the way through. Guinevere has many other adventures that follow. Yes, the traditional version is that she went to a nunnery, and Evelina does work that into the story, but we also see Guinevere return to her warrior-queen roots as outlined in the first novel. And while her husband, Arthur, is dead, other old loves are not. Guinevere discovers she is still a piece on a chessboard, her past making her a pawn to be played with by those now contending for power in Arthur’s absence and in the wake of Saxon invasions, and she learns how to control her destiny despite everything.

Not only does Evelina do a superb job of bringing life into all the Arthurian characters and often giving us new twists on their stories, but for plot purposes, she has also effectively introduced some new characters. Sioban, Galen, and Elga will long remain with me as favorite characters in this version of the Arthurian legend. Elga particularly fascinated me as a strong Saxon woman.

I completely enjoyed Evelina’s original take on the end of Guinevere’s story. She has given back to Guinevere, an often overlooked and derided figure, her dignity and endowed her with a true personality. While I enjoyed the first two books in the trilogy, I actually loved this one. In fact, I couldn’t put it down; I read it all in one day and was disappointed when I realized I was on the last page and there wasn’t still more. Evelina has accomplished what good Arthurian fiction should—not just a retelling but a reimagining that challenges and stretches the borders of Arthurian literature into new possibilities, granting it new meanings and new importance, and ensuring that the legend will continue to burn in our hearts for generations to come.

For more information about Nicole Evelina and Mistress of Legend, visit www.NicoleEvelina.com.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

New Merlin Novel Delves into Psychology of Arthur’s Three Royal Predecessors

The Sons of Constance is the second book in the new Swithen series by Scott Telek. The first book Our Man on Earth, tells the story of Merlin’s conception, birth, and amazing ability to speak as a young child and defend his mother against the charge of sexual immorality when she claims he is the son of the devil. In this second novel, we see Merlin at age ten, at the time when traditionally in the legends, King Vortigern seeks to have him killed to offset the continual falling down of his tower. Telek’s purpose is to write a series of Arthurian novels that remain faithful to their originals “by retaining the plot, story, and weirdness of the original legends from nearly a thousand years ago, but filling in the character and psychology in ways that are compelling to modern readers.” So far, I believe he’s been successful in this endeavor.

The Sons of Constance tells the tale of Merlin’s dealings with Vortiger, Pendragon, and Uther.

If you weren’t fascinated by how Telek depicted Merlin in the first novel, I guarantee you will be here. At age ten, Merlin is wiser than any other man. His great wisdom is the result of his being the son of the devil, as explained in the first novel. The devil granted him the power to know all things from the past. However, God stepped in and redeemed him, and in the process, gave him the power also to know all things in the future, which means he has a great gift for prophecy.

The novel opens in the time of King Constance, who has three sons: Maine, Pendragon, and Uther. When Constance dies, Maine becomes king. He is welcomed as king by the people, being handsome and charming, but it soon becomes apparent that he is more a pretty boy than an able administrator of a kingdom. His primary advisor is Vortiger (Telek drops the “n” because he is following the spellings used in the Post-Vulgate version of the Arthurian legends), and soon the people realize that if they want to get something done, they need to go to Vortiger. Then people start suggesting Vortiger should be king. He responds by saying he can’t be king while Maine is alive, a remark that people interpret as his wanting them to kill Maine. Of course, they do and Vortiger becomes king, while Maine’s brothers flee to the continent to safety.

Merlin enters the story when Vortiger is trying to build his tower and it continues to fall down. His counselors tell him he must sacrifice a boy who has no father in order to appease the gods so the tower will stand. Of course, Merlin is that boy, and he knows of this plot against his life before the counselors even arrive. Anyone who is a fan of the Arthurian legend will know what happens next, and there’s really nothing to Telek’s basic plot that will surprise anyone in that regard, so I apologize for any spoiler alerts that follow.

Merlin reveals to Vortiger that the real problem is that two dragons are lying under the tower, one red and one white, who occasionally move or roll over and cause the tower to fall. Vortiger is finally convinced that Merlin might be telling the truth, so he has his men dig under the tower, and indeed, they do find the two dragons. As Merlin predicts, the dragons wake and fight and the white dragon wins. Vortiger realizes the red dragon is symbolic of who he is since he always wears red, and that his death is approaching.

Arthurian fans will know what happens next. Vortiger dies and Pendragon (or Aurelius Ambrosius as he is often called, although Telek avoids the name) becomes king. In time, Pendragon also dies and Uther becomes king. What is fascinating about the novel is not the plot—truthfully, I thought the pacing of it a bit slow at times—but the psychology of the characters as the chain of events unfolds.

For me, Vortiger may have been the most interesting character in the novel. Telek gets into his mind, showing his guilt and fear over Maine’s death. It’s clear that he did not intend for Maine to be killed, but his words that led to Maine’s death were misinterpreted, and yet, perhaps on some subconscious level he did mean them as they were spoken. In his conversations with Merlin, he comes to realize Merlin’s great knowledge and also to feel guilt over his past. The battle of the dragons he also sees as a prophecy of his death, which leads him to make a rash act that ends in his destruction. I don’t want to give away the details of Vortiger’s death, but I will say that I think Telek has created the most real and sympathetic version of Vortigern to date. Vortigern has always been a rather undeveloped figure in Arthurian legend (except in Helen Hollick’s The Pendragon Banner Trilogy), but here he comes to life as a fully-rounded individual.

Both Pendragon and Uther are also well-rounded characters. Merlin immediately befriends them and helps to establish Pendragon as king, but Pendragon has a counselor, Brantius, who is skeptical of Merlin’s powers, primarily because he doesn’t like that Pendragon listens to Merlin over him. He sets up an elaborate ruse to prove that Merlin is a liar and cannot predict the future, but of course, it backfires on him. Merlin is then angry that Pendragon does not trust him and foretells that one day Uther will be king. This prophecy sets off a chain of events that are more emotional and psychological than action-packed. Telek delves into the feelings of Pendragon in knowing he must die so Uther can have the throne and into Uther’s feelings of guilt over his brother’s approaching death and his unreadiness to be king. Both brothers also are presented as realistic and ultimately noble as a result of the prophecy.

Of course, Merlin is the star of the novel, although the depiction of the three kings who precede Arthur are, in my opinion, Telek’s triumph simply because they have been sketchy and not fully detailed in most Arthurian works to date. But Merlin remains fascinating. At age ten, we see him able to change his appearance to that of an adult. We also see him able to open doors in the air so he can pass from one place to another (a type of portal apparently). And he is already predicting that an even greater king will come after Uther and setting events in motion for Arthur’s reign, including creating the Round Table and being concerned with the sangreal. And yet, despite all Merlin’s wisdom, his mother Meylinde still proves herself wiser in teaching him the secrets of the human heart and the true will of God.

The Sons of Constance ends with Uther as king and the realization that he will be a good king, but also a short glimpse at what will come in the third book The Void Place, yet to be published, in which will occur the events that lead to Arthur’s birth. I am looking forward to the next installment in this series.

For more information about the Swithen series, visit https://theswithen.wordpress.com/. The Sons of Constance is available at Amazon in ebook and paperback editions.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

New Novel About Merlin’s Birth Dramatically Embellishes Legend

Our Man on Earth: The Original Tale of Merlin, Arthur’s Legendary Wizard is the first book in the new Swithen series by Scott Telek. The premise of this series, as Telek states, is that he will write a series of Arthurian novels that remain faithful to their originals “by retaining the plot, story, and weirdness of the original legends from nearly a thousand years ago, but filling in the character and psychology in ways that are compelling to modern readers.”

Based on the Prose Merlin, Our Man on Earth is an insightful and psychological look into Merlin’s origins and childhood.

Our Man on Earth proves that Telek is certainly off to a good start. The novel tells the story of Merlin’s conception and birth, and is based upon the 442 lines of the Prose Merlin (written circa 1230-1240), to which Telek provides a link for those who wish to compare his novel to the original. I will say that Telek’s novel follows the Prose Merlin’s description of Merlin’s birth and what follows very closely without deviation but with plenty of additional information.

Those familiar with Merlin’s origins will know that a common version of the story is that he was conceived by the devil. Many other authors have had his mother claim she got pregnant by a demon, only for the reader to be informed it was really a man, as in Mary Stewart’s Merlin trilogy. Telek, however, stays true to the original. He expands the story to provide details about Merlin’s mother Meylinde’s family and how a real demon chooses the family to torment. The demon’s goal is to create an Antichrist by getting a human woman pregnant and having her give birth to his child.

Is Merlin then the Antichrist? Well, he would have been had his mother not been a good Christian woman who prayed and turned to God for help, and immediately upon his birth, had Merlin baptized. Telek explores the religious implications of Merlin’s conception, the doubt expressed by Meylinde’s community over her statement that she begot him through a demon, and the evil thoughts of many that she probably got pregnant by Blaise, the priest she is consulting in her distress. Telek doesn’t shy away from the supernatural but makes it feel real as the child grows quickly in Meylinde’s womb so that he comes to term after only five weeks.

Meylinde is soon imprisoned for her crime of premarital sex. Merlin’s birth and how Meylinde and her midwives respond to his strangeness are all described with great detail and provide both entertainment and mystery. Like T. H. White does for the boy Arthur, Telek allows Merlin to shapeshift into various creatures, but most marvelous of all is when Merlin begins speaking—and his first words aren’t just “mama” or “goo-goo.” He speaks in full sentences like an attorney-at-law, and lucky for Meylinde that he does because he becomes her defender when she is brought before the judge who will likely sentence her to death for her sin of sex outside of wedlock.

I don’t want to say much more because it will spoil the plot. But what I do want to say is how very powerful the end of the novel is. We are told that because Merlin is the devil’s child, he has the gift of knowing everything that is past. Then when he was baptized, God gifted Merlin with knowledge of the future. Consequently, one would think Merlin perfect in his being all-knowing, but this is not the case. He is logical, but he is not quite human—he lacks emotional intelligence and human compassion. The conversations between him and his mother on this topic are the culmination of the book and bring the story to a powerful close. For me, this was the best part of the story because it showed true human emotion, character development, and the humanity of the characters. Too often, the Arthurian characters become stick figures in modern retellings but that is far from the case here.

I thoroughly enjoyed Our Man on Earth. I only wished it was longer, but fortunately, Telek has already published the second book in the series The Sons of Constance. Anyone familiar with the Arthurian legend knows this refers to Arthur’s father and uncle. At the end of Our Man on Earth, Merlin realizes his destiny is to assist Arthur to become king. Arthur’s family will then be the focus of the next book. A third and fourth book, The Void Place and The Flower of Chivalry, are also in the works.

Finally, in case you’re curious about the series title, I’d add that I had the chance to talk to Telek and ask him about it, and he explained, “‘Swithen’ is a Middle English term from slash and burn agriculture that means the burning of a field to make it fertile for the next generation…. It refers to the grail quest, in which Arthur and his men are told that their way of life is ending and to make way for the new.” Telek is also ambitious about the series. While the titles of four books are currently listed at his WordPress site, he told me, “I am planning to just go forward with the series as far as I can, so at the pace I am going, I expect it would take fifty novels to reach Arthur’s death. I know it’s insanely ambitious, but…it will be amazing if it can be done! My goal is to slow it down enough to give all of the stories the heft they deserve (you know how momentous events go by in a flash in the sources) and to unify the story even further, which is why I’m beginning it all with the birth of Merlin. Kind of amazing to think of all of the Arthurian legend stemming from a failed effort by the devil, right?”

Ambitious indeed, but Our Man on Earth shows that this getting at the meat of the individual stories brings them to life in new and rewarding ways. Consequently, I welcome the Swithen series as an exciting new addition to modern Arthurian fiction, and I especially appreciate how closely tied the series promises to be in relation to its source material. Too many modern novels go too far afield from the sources until they become almost unrecognizable as Arthuriana so an author determined to be faithful to his sources is refreshing. I definitely look forward to reading the next book in the series.

For more information about the Swithen series, visit https://theswithen.wordpress.com/. Our Man on Earth is available at Amazon in ebook and paperback editions.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

John Matthews’ New Boyhood King Arthur Novel a Treat

John Matthews, long known for his scholarly books on King Arthur, has finally published the first novel in his long-awaited series about King Arthur’s childhood. The book is The Sword of Ice and Fire, and it’s the first of four books in the Red Dragon Rising series. This series is quite an undertaking because, first of all, Matthews has a reputation to live up to, and secondly, he has a whole Arthurian tradition behind him to draw upon.

Matthews’ first Arthurian novel is complete with Vortigern, dragons, and even shapeshifters and a Celtic god.

That said, only T. H. White previously wrote a novel about Arthur’s childhood, namely The Sword and the Stone, later the first part of The Once and Future King and the source for the Disney film The Sword and the Stone. As Matthews notes in his Author’s Note, White’s version of Arthur’s childhood is too humorous and light-hearted to fit with much of the later Arthurian material and White’s depiction of it in his own later novels. If there are other depictions of Arthur’s childhood, I’m not aware of them. Merlin’s childhood has been treated in a long series of books by T. A. Barron, but I have to admit they are too over the top and far-fetched that they don’t resemble anything Arthurian at all but more just broad children’s fantasy. Therefore, I was both interested and a bit unsure how I would take to Matthews’ novels.

It turns out I greatly enjoyed this first book. The Sword of Ice and Fire is definitely a young adult novel, so I didn’t become as engrossed in it as I might an adult novel, and it is a fantasy story, so it may not appeal to those who are only interested in the more historical Arthur, but setting those two elements aside, there is much in this book to enjoy, especially how Matthews uses many aspects of the Arthurian legend in new and surprising ways that ultimately leave you thinking, “Yes, that makes perfect sense” or “I never thought of it that way; why has no one else until now?”

The story takes place in a castle where Arthur has been brought by Merlin to be raised. Arthur is cared for by Sir Hector and his wife Elaine, and he has a foster brother, Cai, just like in most versions of the story. What makes the novel stand out is that the castle is in Avalon, and in it also reside nine sisters, known as “the Nine.” Matthews here is drawing upon Geoffrey of Monmouth’s statement in the Vita Merlini that there were nine sisters in Avalon. In his Author’s Note, Matthews notes that Geoffrey gave them names, but Matthews has decided to give some of them different names, and the list is quite impressive since they are all women of significance in Arthurian legend to some degree or another. Of course, there is Nimue and Morgaine, but there’s also Argante and Ragnel. I’ll let readers discover the other sisters for themselves.

Another fascinating part of the storyline is the inclusion of Bercilak, the Green Knight. While the medieval poem Sir Gawain and the Green Knight doesn’t tell us much about the Green Knight’s background, here we get his back story, and he even ends up becoming Arthur’s teacher.

Merlin has brought Arthur to Avalon to keep him safe, and to ensure that safety, Arthur has not been taught anything about his childhood, so in the novel we also watch him finally become aware of his heritage as son to the late King Uther Pendragon, as well as why his safety is in jeopardy. Early on, we learn there is someone evil who wants to see Arthur fail and who wants to take possession of the Sword of Ice and Fire for himself. Eventually, we learn this villain’s identity—this is where I was most surprised by Matthews’ choices. The villain is a magician named Amangons, whom in his Author’s Note Matthews tells us is a magician from an obscure French medieval story, The Elucidation. I have to wonder why Matthews chose to include this character and also make him a relative of Arthur’s—hence, his desire to kill Arthur and obtain the throne for himself. That said, perhaps Matthews wanted to save the other better-known Arthurian villains for his later works.

One of the best uses of the Arthurian legend in the book is how Matthews treats the Questing Beast Glatisant. I really enjoyed his depiction of the beast and how the beast plays into the plot. I also liked how he introduced into the novel the Treasures or Britain—he refers to them as the Hallows of Albion. In the Arthurian legend, there are Thirteen Treasures, but Matthews has reduced them to four. The Sword of Ice and Fire is the first of these treasures, which Arthur must achieve. Needless to say, he does, and the remaining three volumes of the series will tell the stories of how he achieves the remaining three.

I feel like I’ve already said too much in terms of revealing the plot so I’ll stop here and just add that I think anyone who enjoys Arthuriana, and isn’t a stickler for a solely historical and realistic novel, will find this book a fun read. It’s really enjoyable Arthuriana for all ages, and I’m eager to read the remainder of the series. Congratulations to John Matthews for creating a successful first volume.

The Sword of Ice and Fire (ISBN-13: 978-1911122173) is published by The Greystones Press. It is available at Amazon and most online and retail bookstores.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other books. You can learn more about Tyler at www.ChildrenofArthur.com.

Faraday’s Pendragon: An Early Historical Novel of King Arthur

Barnard Faraday’s novel Pendragon (1930) is one of the earliest novels to treat King Arthur as a historical person living in the sixth century and fighting the Saxons. It’s a departure from the Arthur of Malory and Tennyson and helped mark a trend toward realistic historical Arthurian fiction as opposed to fantasy.

The novel is not without its faults. The few reviews at Amazon on the novel complain about its verbosity, stale characters, and lack of action—these are all fair criticisms. It’s really not a long novel—only 272 pages in its first edition, and it is a small sized book, about 4 x 5, so there should not be a lot of room for verbosity, but there is.

However, Pendragon has many good points. While we have to acknowledge that it is not always historically accurate and that Faraday did not have access to all the historical research that has been done in the nearly a century since he wrote it, he does try to give us a good feel for a Britain abandoned by the Romans, in which the tribes are squabbling among themselves while trying to fight off their enemies—in this case the Angles, Saxons, Jutes, Picts, and Irish are all amassing against the Britons.

When the novel opens, Aurelian claims to be ruler of all Britain because he is a scion of the Proconsular family of Imperial descent. Aurelian’s father, Ambrosius, was the first to call himself king of Britain, realizing Rome had fallen. The novel takes place in 502/3, a generation after Rome fell in 476. Aurelian claims to be king of all Britain, but there are many other petty kings who claim their own territories. Most significantly, Guitolin was the ruler of Cornwall, but when the novel opens, he has been abducted by the Saxons and it’s not known whether he is dead or alive.

Artorius (King Arthur) is the general of Aurelian’s armies and the novel’s narrator. Early in the novel, he comes upon Princess Gwendaello of Cornwall, a niece to Guitolin. She has survived the attack that Guitolin was taken in and gets protection from Artorius as he escorts her home. She is quite uppity and sure of herself, and eventually, she makes it clear she is “Pendragon,” the rightful ruler of all Britain because that title belonged to her ancestors before the Romans came to Britain.

Artorius also meets Gildas and Mereddin (Merlin). Mereddin has apparently been plotting against Gwendaello, but Artorius decides to protect her. Meanwhile, Gildas is condemning the rulers of Britain as sinners, but before the novel’s end, he will show he is not just a crazed religious fanatic but capable of acting when needed and doing what is best for Britain.

There are some treasonous plots Artorius gets involved in that need stopping, and in time, he manages to convince the Britons that they must all band together to protect themselves from their enemies. Eventually, it’s learned that Guitolin did survive his abduction, and he is seeking to betray his people into the hands of the Saxons, letting them have portions of Britain in exchange for recognizing him as overlord. Fortunately, he fails in his mission and ends up being killed when he tries to attack Artorius.

A great conference is now held in which the kings argue among themselves. By this point, Artorius has fallen for Gwendaello and supports her claim to be Pendragon and rightful ruler of Britain. The novel culminates in the Battle of Mt. Badon, in which the Saxons and their allies are driven from Britain’s shores. Artorius is wounded in battle and wakes when it’s over to find himself lying in Gwendaello’s arms, and she telling him they have won the day, and then she kisses him.

The ending doesn’t make it clear whether Artorius is dying or whether he will live and presumably marry Gwendaello and become Pendragon himself through right of his eventual marriage to her. I suspect the latter, but Gwendaello cradling Artorius in her arms just resembles Morgan le Fay coming to take King Arthur to Avalon too much to make the reader not wonder whether Artorius is dying.

The novel does suffer from digressions and a lack of dramatic action. At one point, a major battle is described in a letter from Gwendaello to Artorius, which weakens the dramatic effect. There is a lot of arguing among the Britons, which slows down the plot. There are also a lot of characters to keep track of, although most of them are relatively insignificant.

The most fascinating character in the novel is Gwendaello because she is a strong woman, determined in a man’s world to assert her right to rule. Ultimately, she is able to convince Artorius, the strongest and most righteous of the men, to support her claim. I don’t believe another depiction of such a strong Guinevere would appear for decades, and that a man wrote this novel makes her depiction all the more remarkable.

Gildas is a complete anachronism in the novel. He’s described as being about eighty years old, and yet he wasn’t actually born until about 516 AD, some thirteen years after the novel ends.

But altogether, the novel is readable, and it is not as wordy and slow as it might have been had it been written in the Victorian period, even if it’s not fast-paced enough for the twenty-first century reader.

The biggest question is what is to be gained by such a novel that does not depict Arthur as a king but just a warrior, a general? Obviously, we gain a better understanding of who the original King Arthur may have been and what conditions he had to deal with, but we lose the magic of Camelot, of the knights and quests and mysteries. Personally, I prefer the historical fantasy approach where magic is still allowed in the Arthurian world while trying to be historically accurate. That said, Faraday’s novel is significant for how it blends not only history but also Welsh myth and British legend into the story—for example, a crown is found and worn by Gwendaello that belonged to Dynwal Moelmud, a legendary British king mentioned in Geoffrey of Monmouth’s History of the Kings of Britain. Faraday is trying to recreate the mindset of sixth century Britons who still believed in their ancient history and legends. Such beliefs are at times brought into question, but eventually Mereddin convinces Artorius to let the people believe what they want because when their beliefs die, it leads to sorrow and loss, which is why Artorius eventually agrees to support Gwendaello as Pendragon.

It seems then that Faraday wants to have it both ways—to create a more historical version of Arthur, and at the same time, let his readers continue to believe in their legendary Arthur, and perhaps make them into one and the same. This debate over how to depict Arthur—historical or legendary—continues on today as two schools—historical fiction and fantasy—have arisen among Arthurian fiction. But this literary division is wonderful because it provides diversity and room for creativity, and it will likely continue on as two schools of Arthurian fiction until the day the truth about King Arthur is known, and even then, it is questionable whether the fantasy versions of the Arthurian legend will cease to be read, and loved, and even rewritten again.

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Tyler Tichelaar, PhD, is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, 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, plus numerous other historical novels. You can learn more about Tyler at www.ChildrenofArthur.com.