Donna Hosie’s Quest of the Artisan Brings More Adventures for King Arthur’s Daughter

Donna Hosie’s novel Quest of the Artisan (2015) is the second installment in the Children of Camelot series, following The Ring of Morgana previously reviewed on this blog.

King Arthur’s modern-day daughter and her boyfriend have adventures in this second volume of the Children of Camelot series.

At the end of The Ring of Morgana, Rustin had returned to medieval Logres where he wanted to become an artisan and build a cathedral. Meanwhile, his best friend, Mila, the daughter of King Arthur, had remained in the twenty-first century, but in the final pages, Melehan, the son of Mordred, had found her in Wales to tell her of the recent happenings in Camelot. Little did Mila know Melehan was tricking her into captivity.

Quest of the Artisan opens with Rustin and the rest of the court at Camelot awaiting the Round Table to announce who the next Knight of the Round Table will be. Of course, they are shocked when Melehan is named. They are more shocked when not long after they are attacked by the Undead, raised up by a necromancer, who ultimately turns out to be Melehan. (Spoiler alert coming.)

Melehan, however, is intent on destroying the Round Table. Rustin, Mila, and several other knights, including Galahad, and the modern-day James set out to stop him. However, when they are attacked by his army of the Undead, Rustin is wounded and becomes ill from the Undead’s poison having gotten into him. The only way he can be rescued is if he drinks from a healing cup.

That cup turns out to belong to the Fisher King and be the Holy Grail. The catch is that if Rustin drinks from the cup, he must take the Fisher King’s place. He will also never be able to have children. (The Fisher King is traditionally wounded and impotent.) However, life is better than death so Rustin and his companions set out to achieve the Grail, which includes seven tests they must face. During this process, they enter a cave and Mila falls off a cliff. Melehan is manipulating events and manages to capture Mila and now holds her hostage. Eventually, Rustin confronts Melehan, who refuses to tell him where Mila is, and explains his evil plan—he will kill King Arthur, marry Mila, and become King of Logres.

Rustin refuses to let Melehan succeed. Eventually, Rustin and his friends achieve the Grail (although they realize in achieving it they have also been manipulated by Galahad who has his own reasons for wanting to achieve it—so he can become a Knight of the Round Table.) Once Rustin achieves the Grail, he is crowned as the new Fisher King. (There’s a line here “You have chosen wisely” when he achieves the cup that is an obvious nod to the film Indiana Jones and the Last Crusade, in which Indiana Jones seeks the Holy Grail.) Rustin will now also end up living in the Fisher King’s castle, and he realizes from looking at maps that belonged to Pelles, his predecessor, that the castle exists in Wales on the same land where in the twenty-first century his village will exist. His role as artisan (woodworker) is now finally revealed also because he decides to build a temple that will one day be the foundation for the twenty-first century church.

But before Rustin can build his temple, he still has to defeat Melehan and save Mila. Of course, this is achieved, but I won’t describe how. However, once Melehan is defeated, everyone recalls how he was the son of the evil Mordred, who was Gareth’s half-brother and “illegitimate or something” (which I suspect means Mordred’s father is not Gareth’s. Who Mordred’s father is does not get revealed here, and I haven’t read Hosie’s The Return to Camelot trilogy that preceded this series, so I’m not sure if Mordred was Arthur’s son in Hosie’s works or not, but if so, Melehan was Arthur’s grandson and technically Mila’s nephew, which would mean incest anyway if they had married.)

A definite love interest exists between Mila and Rustin in this novel, but at the end, Rustin will live in the Fisher King’s castle while Mila will live at Camelot. We are left wondering whether they will ever end up together.

One additional item of interest in this novel is that a modern-day character, James, also has traveled back in time to Camelot, and he develops a crush on Sir Galahad. Galahad seems to encourage his advances as a way to get what he wants, although ultimately James’ love for him is unrequited. James can now be added to what is becoming quite a lengthy list of gay characters in Arthurian literature. (See my previous blog on The Gay Arthurian Tradition.) It will be interesting to see whether James finds love in a future novel in the series. It is also interesting that this series is for young adults yet includes a gay character, something that would have been unthinkable even twenty years ago. Kudos to Hosie for not shying away from what is human nature.

I can only guess what a third novel in the series will be like since Hosie has not published one yet. When Quest of the Artisan was published in 2015, Hosie had only published the first of her The Devil’s series and now the fourth book in that series is out, so one has to wonder whether she’s abandoned interest in writing a third Children of Camelot book to write other books, but if so, I hope she’ll reconsider. I want to see Rustin and Mila get married and give King Arthur grandchildren before the series ends. Of course, Rustin cannot have children now that he is the Fisher King, but I imagine Hosie, if she writes a sequel, will find a way to get around that problem. Long live King Arthur’s descendants!

For more information about Donna Hosie and her Arthurian books, visit http://donnahosie.wixsite.com/website

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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, 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.

New Young Adult Novel Continues Guinevere’s Intriguing Story

At last, Cheryl Carpinello has published her long-awaited Guinevere: At the Dawn of Legend—Book Two, and it ends with a cliffhanger, suggesting yet another book will follow.

The first book in the series was charming, complete with a unicorn and Merlyn, but this second book shows us just how much Guinevere is growing up quickly due to the situations surrounding her. When the first book ended, Guinevere was affianced to King Arthur, though still just a girl. Arthur is himself new to the throne and seeking to make alliances, hence his desire to wed Guinevere, but Guinevere has more important concerns.

As this second novel opens, Guinevere and her best friend, the almost-eleven-year-old boy, Cedwyn, decide to leave their home at Cadbury Castle on their own and go visit the Wizards’ Stones. While they know the adults wouldn’t want them to leave, they are anxious to see the stones that Merlyn had told them about. It sounds like a fun afternoon adventure, but it quickly turns into more when an ancient goddess appears and utters a prophecy about the two young friends’ futures.

The prophecy has barely ended before Cedwyn and Guinevere hear strange sounds, and spooked, they ride to a nearby monastery to seek shelter. There they learn some renegades are out to kidnap Guinevere, and fearing the monastery will be attacked, they flee again, but once they feel it is safe, they return, only to discover the monastery destroyed. By the time they return home to the castle, it has also been sacked. The renegades were searching for Guinevere, but since they couldn’t capture her, they decided not to leave empty-handed, so they kidnapped several children.

I don’t want to say more and spoil all the fun of reading this book. I’ll just say there is plenty more adventure, but what I most appreciate are the story’s pacing and the care Carpinello takes with her two main characters. They are children, they are having adventures, but they feel like real people, frightened, trying to do what is right in the face of danger, and they are also headstrong, not always believing that the adults know what is the right thing to do so sometimes they have to act on their own. They are heroic children with all the idealism and foolhardiness that come with first adventures.

Anyone who enjoyed the first book in this series will equally enjoy the second and look forward to the third. The characters are well-drawn and realistic, the events plausible, and the story well-plotted. I’m eager to read the next book and see Guinevere grow up a little more and mature into a queen worthy to sit at King Arthur’s side.

Cheryl Carpinello is also the author of a non-related young adult Arthurian novel, The King’s Ransom (Young Knights of the Round Table), as well as Sons of the Sphinx and Tutankhamen Speaks. To learn more about her and her books, visit www.beyondtodayeducator.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, Lilith’s Love, and the upcoming 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.

Guest Interview with Tyler R. Tichelaar, author of the Children of Arthur series

Today I was privileged to be interviewed about my Children of Arthur series by my fellow Arthurian author Nicole Evelina.

Award-Winning Author Nicole Evelina

Some of you may remember my friend, author and fellow Arthurian nut Tyler Tichelaar, from his 2012 guest post where he talked about a trip he took to Turkey and the Arthurian connections he found there. Well, now he’s back, talking about the fifth and final book in his Children of Arthur series about King Arthur and his descendants.

Tyler is an author of Arthurian nonfiction and historical fantasy and an enthusiast for, if not expert on, modern Arthurian fiction. His nonfiction book King Arthur’s Children: A Study in Fiction and Tradition, which I reviewed here, was published by Modern History Press in 2011. It explores various traditions concerning King Arthur’s children in Welsh and medieval sources, the possible historical descendants of King Arthur, and more recent creations of descendants for King Arthur in modern fiction. (It’s a great book, one that has been a resource for more than one of…

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King Arthur Returns in Arthur’s Bosom, the Final Novel of The Children of Arthur Series

For Immediate Release

King Arthur Returns in Final Novel of The Children of Arthur Series

Marquette, MI, May 31, 2017—Ever since Mark Twain’s A Connecticut Yankee in King Arthur’s Court, people have fantasized about time-traveling back to the time of King Arthur. But in Arthur’s Bosom, when a cataclysmic event sends Lance Delaney back in time, he’s more concerned about getting back to the twenty-first century than taking a tour of Camelot.

Arthur’s Bosom – the cover image is Sir Frank Dicksee’s The Two Crowns – the first crown is on the head of the king on the horse – the second crown is Christ’s crown of thorns – the crucified Christ is on the back cover of the novel. This painting largely inspired the novel since the True Cross plays a key role in the plot.

Arthur’s Bosom is the fifth and final volume in Tyler R. Tichelaar’s The Children of Arthur series. The series began with Arthur’s Legacy, in which modern-day Adam Delaney met Merlin, learned he was descended from King Arthur, and was shown what really happened at Camelot. The sequels, Melusine’s Gift, Ogier’s Prayer, and Lilith’s Love, followed Arthur’s descendants over the centuries, depicting them at various historical events, including the Battle of Roncesvaux in 778, the Fall of Constantinople in 1453, and World War I.

Now in Arthur’s Bosom, Adam Delaney’s adult twin sons, Lance and Tristan Delaney, find themselves sent back in time when an apocalyptic comet strikes off the coast of Cornwall while they are out sailing. Tristan, wounded by the comet’s debris, is unconscious, so Lance goes ashore to seek help, not realizing he is now in the sixth century, or suspecting that the sailboat will carry his helpless brother off to sea before he can return. Desperate to learn whether Tristan is dead or alive, Lance embarks on a journey through Arthurian Britain to locate his brother and find someone who can help him return to the twenty-first century.

Along the way, Lance will befriend Sir Palomides, the only Knight of the Round Table of Middle Eastern descent. Unfortunately, Sir Palomides is more intent on slaying a strange creature he calls the Questing Beast—which appears to be an amalgamation of a lion, a deer, and a snake—than in helping Lance find his brother. Other characters Lance meets and seeks help from include the Lady of the Lake, a knight turned hermit, and Morgan le Fay, but each one has his or her own agenda for Lance to fulfill. Could it be, however, that they know something Lance doesn’t know—that to achieve his goal, he must undertake a quest to make him worthy of that for which his heart most longs?

Arthur’s Bosom, like its predecessors, blends myth and history to create a new imagining of mankind’s past and the possibilities for its future. Most significantly, it depicts the return of King Arthur and the reestablishment of Camelot in an innovative way that will leave readers both stunned and optimistic for mankind’s future. The title is taken from a line in Shakespeare’s play Henry V. It is a wordplay on the biblical phrase “Abraham’s Bosom” and refers to an Arthurian version of heaven.

Each volume of The Children of Arthur series has delighted fellow Arthurian authors and fans. Rowena Portch, award-winning author of the Spirian Saga series, proclaims that The Children of Arthur series is for those who “love the mystical magic of Camelot but thrive on the excitement and tribulations of Game of Thrones.” Cheryl Carpinello, author of Guinevere: At the Dawn of Legend, declares, “With Arthur’s Bosom, Tyler R. Tichelaar’s enlightening tour through medieval legend comes to a striking and satisfying end…. In fact, it’s a true tour-de-force that can change minds and change the world. Put this one on your shelf between Malory and Marion Zimmer Bradley as a genre-changer.”

Tyler R. Tichelaar, Ph.D. is the author of numerous historical novels, including The Marquette Trilogy, The Best Place, and the award-winning Narrow Lives, and of 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.

Arthur’s Bosom: The Children of Arthur, Book Five (ISBN 978-0-9962400-4-8, 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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King Arthur: Legend of the Sword—The Good, the Bad, and the Ugly

First, let me warn my readers of two things: 1) This blog may contain some spoiler alerts if you have not seen the film, and 2) I seriously thought about titling this blog “Why Guy Ritchie’s King Arthur Sucks” so be forewarned I have little good to say about it. That said, there were a few good surprises. Also note, I may have forgotten some of the bad and ugly points since I only saw the film once, but I am not inclined to view it again.

So here are the good, the bad, and the ugly points about why Guy Ritchie’s new film King Arthur: Legend of the Sword is a terrible rendition of the Arthurian legend.

The Good

1. The Starring Actors: Four of them deserve mention. Eric Bana and Jude Law are both great actors and I have enjoyed their performances in almost every film I’ve ever seen them in, even if I haven’t always liked the films. That said, they could do little with the script and characters they had to play. Eric Bana’s part is far too small to give him room to do much of anything as an actor. Jude Law’s role is that of a stereotypical villain, but he’s convincing and does what he can with it. Also worth mentioning is Charlie Hunnam. Apparently he’s already quite a star though I don’t believe I ever saw him in anything before. And I could tell he is a good actor. He had a crappy script to work with, but he still comes off as likeable and brave in the film, if not as your typical King Arthur. One last actor worth mentioning is Katie McGrath—she’s only on screen for a minute, but because she played Morgana in the BBC Merlin series, which I loved, it was nice to include her as a nod to past Arthurian shows.
2. The Scenery: The film was shot in Wales—one of the few things it got right.
3. The Sets: Camelot was over the top but not completely unattractive. Both the throne room and the subterranean chamber were visually attractive. What I was most impressed by, however, was the depiction of London, complete with a coliseum falling into ruin—it showed that the filmmakers at least new the Arthurian legend takes place in the period right after the Romans left.
   

   Jude Law is a convincing villain, whatever the faults of his character role.

 

 

 

 

 

 

 

 

The Bad

1. England: Continually, England was referenced. It should be Britain. There was no England until the Anglo-Saxons conquered the island. At this point, it was still Britain.
2. Vortigern: Vortigern’s story and place in the legend was messed up. He was not Uther’s brother, nor did he kill him. In truth, Vortigern killed Arthur’s uncle Constans. Constans’s brothers, Ambrosius, and Uther then fled to the continent but later returned and killed Vortigern. Vortigern was dead long before Arthur was even born.
3. The Mage: Who the heck was she? We are never even told her name. She’s the only female character in the film who is even recognizable as a character and yet she’s nameless. I kept waiting to hear that she was Morgana or Nimue or Viviane or someone recognizable. Nor did she have much of a role other than to make weird googly eye faces. Maybe her identity was kept secret so it could be revealed in a sequel, but fat chance there’ll be a sequel.
4. The Sword in the Stone: Seriously, the sword flies up in the air, lodges in Uther’s back, and then he sinks into the water and turns to stone. Stupid.
5. Mordred: This one really irritated me. The film begins with Mordred, the evil mage, waging war on Camelot and Uther. Traditionally, Mordred is Arthur’s son or nephew. He has no magic powers. He did not live before Arthur. Couldn’t they have come up with some other villain? Rumor has it that Guy Ritchie is talking about a three or six film series (which won’t happen since the film has flopped at the box office), but if it were going to happen, wouldn’t you want to save Mordred for the end of the series? Poor planning.
6. Interracial Casting: Now I know some will disagree with me on this one. I am absolutely all for letting actors who are not white have more roles in films, but not at the expense of historical accuracy. There were way too many people in the film who looked like they were of Asian or African descent to make this a believable circa 500 A.D. Britain story.
7. Minor Characters: I think this includes everyone but the three main characters I mentioned above. None of the men with Arthur are distinguishable. I didn’t even know their names, other than Bedivere (who is the Lancelot equivalent of the Welsh legends; who no way in hell was African), until the final scene when they were knighted. Worse, there are several female characters in the film who are just there—no clue who they are. I didn’t even realize Vortigern had a daughter until he decided to kill her. The cast list even has Merlin included. I don’t remember seeing him at all. And why do we need characters with names like Goosefat Bill and Backlack? And what’s up with an Asian character named George. Speaking of which….
8. Kung Fu: There were no Asians in Arthurian Britain with who were teaching people martial arts, and King Arthur certainly didn’t know Kung Fu. Please.
   

   King Arthur learns kung fu fighting.

9. Vikings: Technically, the Vikings lived in a later period. These people should have been called Saxons. The Saxons were the enemies of King Arthur. It’s true Vortigern did make deals with them and let them into Britain. So why not stick with a more accurate story here if they are to be included?
10. The Boredom: Frankly, most of the middle of the film was boring. At one point, after a battle scene, we’re subjected to a full minute of just listening to Arthur breathe hard while everyone else stands around looking like they haven’t broken a sweat. The pacing in the middle was slow. The action scenes at the end just made me want the movie to end.
11. Other Movie Feels: Historically, Vortigern had a tower but it wasn’t like this one—this tower reminded me too much of Lord of the Rings, as did the giant elephants and other creatures. And in one scene there’s a bunch of hooded/masked warriors with glowing eyes who look like Jawas from Star Wars. And yes, a lot of it reminds me of Ritchie’s Sherlock Holmes films (see the Ugly section).
12. No Merlin: He’s mentioned, but he has no role to play. Poor baby Arthur has to be set adrift in a boat like he was Moses. He should have been rescued by Merlin and taken into hiding. Why would you write Merlin right out of the movie?
13. Bad Background Music: At one point someone is singing but the song can’t seem to decide whether it’s a Scottish ballad or hip hop. I just don’t get the music used in modern films. Ever since A Knight’s Tale we have been subjected to music that doesn’t fit a film’s period and ruins the suspension of disbelief. Medieval movies shouldn’t have rock ‘n roll in them any more than The Great Gatsby needed hip hop. Some nice Celtic background music would have been more appropriate.
14. Vortigern as Skeletor: Or whatever he’s supposed to be. Do we really need Vortigern to turn into some sort of demon from hell to battle Arthur? Couldn’t he have just been given a magic sword too? Just more over-the-top unnecessary nonsense.

 

The Ugly

1. Giant Elephants: No one would have brought elephants to Britain, and not these monster-sized elephants that can carry giant house-like structures on their backs. Granted, these are the mage Mordred’s elephants so maybe they are magical, but to see them in the opening scene of the film just made it clear right from the start that the whole film was going to suck.
2. The Cinematography and Landscape: I apologize if I don’t know the proper terminology but the desolate landscape around Camelot was also over the top and the whole film had that nasty gray look that has become so common in so many films to give a stark depressing view of the film. I’ve seen it in Immortals, Prince of Persia, etc. It’s ugly, Hollywood. Quit using this look.
3. The Giant Snake: I think the giant snake is thrown in just to balance off the giant elephants so the film could come full circle with over-the-top unbelievable animals. Why do we need a giant magical snake the size of Camelot’s front gate to come slithering through the castle? Let King Arthur do something instead to show he’s the man. Granted, later he gets to kill Vortigern, but this scene was just over the top stupid and unnecessary.
4. The One–or Was It Three–Creepy Octupussy Women: Just ick. Just make me puke. Ick. Ick. Ick. I don’t care what kind of evil deal with the devil type scenario you need, don’t ever put something that disgusting on the screen again—these women made Jabba the Hut look like a piece of chocolate. Honestly, the way women were treated and depicted in this film, one wonders what kind of misogynist wrote this crap.
5. The Nod to Detective Shows: We are stuck in the middle of the film with a detective interrogation of King Arthur that feels completely irrelevant and boring. It has a purpose, but the flashing camera angles and everything else made me feel like I was watching Sherlock Holmes, not King Arthur. Guy Ritchie, did you forget which movie you were making at this point?
6. The Lack of All Things King Arthur: Half of the film I sat there thinking, “What does this have to do with King Arthur?” Basically nothing. This film had about as many true Arthurian elements in it as the TV Show Riverdale has from the original Archie Comic books. The difference is Riverdale is entertaining. This film is not. It’s basically a ridiculous plot with a few Arthurian names and a sword tossed in to pass it off as Arthurian to try to sell tickets. This is what is most disgusting about it. Ritchie is trying to capitalize on a time-honored, much-loved legend that has so much power over us—that is beautiful, heart-wrenching, inspiring, exciting, and magical—none of that comes across in this film. That’s why it is a flop more than anything else. The film doesn’t have the slightest concept of what its source material is.
   

   Filming in Wales is one of the few things Guy Ritchie did right with this film. Here is King Arthur and the unnamed mage in a pleasant Welsh setting.

 

I’m sure there’s a lot more I could complain about, but it’s not worth wasting more of my time. Bottom line, don’t waste your money on this film. If you’re a huge King Arthur fan like me, you’ll see it anyway, but wait for the DVD/video release. If you’re not very familiar with the Arthurian legend and want to see a good Arthurian film, watch:

1. Camelot
2. Excalibur
3. Knights of the Round Table
4. The Sword in the Stone
5. A Connecticut Yankee in King Arthur’s Court
6. A Kid in King Arthur’s Court
7. Sword of Lancelot
8. King Arthur (2004)

They’re all much better. If books are your thing, read the novels of:

1. Tyler Tichelaar (have to give myself a plug of course)
2. Nicole Evelina
3. Marion Zimmer Bradley
4. Mary Stewart
5. Nancy Mackenzie
6. Helen Hollick
7. Sharan Newman
8. Jack Whyte
9. Stephen Lawhead
10. Bernard Cornwell
11. T.H. White
12. Mark Twain
13. Parke Godwin
14. Joan Wolf
15. Vera Chapman
16. Susan Cooper
17. Rosemary Sutcliff
18. And many more including the wonderful medieval works by Sir Thomas Malory and so many others—they’re all better.

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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, Lilith’s Love, and the upcoming 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.

 

King Arthur’s Children, Raised in Twenty-First Century, Time Travel Back to Camelot

The Ring of Morgana by Donna Hosie is the first volume in The Children of Camelot Series. As most of my readers of this blog know, in my book King Arthur’s Children (2010) I predicted that the trend to continue to create children for King Arthur to carry the Arthurian story forward would continue and this novel is further indication I was correct. In fact, it was published in 2014, the same year I began publishing my five-volume The Children of Arthur historical fantasy series, detailing King Arthur’s descendants from the sixth to twenty-first centuries.

The Ring of Morgana is the first book in Donna Hosie’s The Children of Camelot series and a sequel to her The Return to Camelot Trilogy.

Hosie’s novel is in some ways similar but in others very different to my own series. It also begins in the twenty-first century. We are introduced to sixteen-year-old Mila Roth and her ten-year-old sister, Lilly. They live in Wales in a house called Avalon Cottage, which is rumored to be haunted. The truth, though, is that Mila and Lilly’s parents have some secrets they’ve been keeping from their daughters, including that they possess a mysterious sapphire ring. I won’t go into the full details of the plot (spoiler alert though that I will give quite a bit away), but basically, Lilly gets ahold of the ring, puts it on her finger, and it begins to make her deadly sick. This situation results in numerous secrets coming out, including that Mila and Lilly’s dad is King Arthur and their mother, although she goes by the name Sam, or Lady Samantha, is apparently really Morgana, a Gorian priestess.

So yes, we have another novel with King Arthur having daughters. What is interesting from here on is that Morgana is the mother of two girls. As the novel progresses, there is no indication that Morgana is the mother of Mordred, as is more typical in Arthurian fiction. Mordred is referenced in the novel (he’s already dead), but it is never stated that he is in any way related to Arthur or Morgana. (Here I should point out that this novel was written after Hosie wrote her The Return to Camelot Trilogy, which I have not read, but which seems to be a prelude to this novel. Consequently, certain details of this book’s plot I may have not understood as thoroughly as if I had read that series first—I was unaware at the time I bought this book that it was linked to Hosie’s earlier series.)

In order to save Lilly, it is necessary for the Roth family (why did Hosie choose that name? It’s not Welsh) to travel back in time to Camelot. Here I think is the only real fault of the novel. Hosie has her characters travel back in time one thousand years—this date is preposterous to me because it would suggest they go back to the year 1014 A.D., give or take a few years. They arrive in the kingdom of Logres at Glastonbury and then travel to Camelot. This year is about 500 years too late. In 1014, Ethelred the Unready was King of all of England and a Saxon king. The novel states that Mila was born during the Battle of Mount Badon, the traditional date of which is 516 and when King Arthur and his Welsh/Celtic contemporaries would have likely lived. A few other historical oddities exist in the novel in terms of some of the name choices—Mila’s aunt is named Natasha and she’s married to Bedivere—Natasha is a Russian name. No one in medieval Britain would have had that name. (Plus, Bedivere is an English version of the Welsh Bedwyr, which I used in my own novels.) Some of the other name choices are equally odd.

In any case, the family arrives back in medieval Logres. Along with them comes Mila’s best friend, Rustin. I mention him, although he’s not related to Arthur, because he plays a significant role in the plot and the sequel book Quest of the Artisan will apparently focus on Rustin, who enjoys woodworking and becomes known as the Artisan in this novel.

The plot now revolves around Merlin trying to heal Lilly while the family reside at Camelot—ruled by Guinevere, who is in love with Lancelot. (The romance dynamics of the novel seem to assume the reader read the earlier series since I never figured out how Arthur and Guinevere must be married, yet he lives in the twenty-first century with Sam/Morgana). Guinevere is childless as usual, but she is very gracious to Arthur and his daughters, who until now have lived in the twenty-first century since it’s apparently safer for them there.

It turns out that Mila must do battle with Nimue in order to save Lilly—this also relates back to themes in the earlier novels—apparently Nimue had some sort of romantic crush on Arthur that caused trouble.

In the end, Mila succeeds and Lilly is healed, and then everyone returns to the twenty-first century, but Rustin is unhappy and decides to figure out how to return to Camelot.

One final point of interest in terms of treatments of King Arthur and his children should be mentioned here. Mordred is dead at the time of the novel. However, he has a son, Melehan, who is about Rustin and Mila’s age and is under the care of Sir Gareth (presumably his uncle). Melehan is traditionally the name of Mordred’s son, which usually would make him King Arthur’s grandson (in my own Children of Arthur series, I used the alternative spelling Meleon; there he is the son of Mordred and grandson of Arthur and Morgana). Mordred does not seem to be related to Arthur in this novel so that means Melehan is not one of Arthur’s descendants.

The novel closes with Melehan traveling to the twenty-first century to meet Mila and tell her he has much to tell her about Rustin and the others back in Camelot, leaving the ending open for a sequel.

I’ll conclude by saying that I thought The Ring of Morgana a very readable and interesting novel. I especially enjoyed the realistic depiction of Mila and her teenage friends in Wales. The build-up of Mila learning the truth about her family and background were all well-done. I admit I was less interested in Mila’s battle with Nimue to save her sister than in the other parts of the novel, but overall, it is one of the better Arthurian novels I have read in recent years and should appeal to young adults as well as anyone who enjoys a more science fiction/time-travel type of Arthurian novel. Those who are diehard fans of historical fiction and a more traditional Arthurian storyline will find it less appealing.

Stay tuned for a future blog about the novel’s sequel, Quest of the Artisan, and perhaps more blogs about The Return to Camelot trilogy.

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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, Lilith’s Love, and the upcoming 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.

Prince Valiant: Vol 14: 1963-1964 – The Arthurian Plot Slowly Thickens

The Prince Valiant strip’s subtitle is “In the Days of King Arthur,” but I have to admit the scenes that take place at Camelot are often less inspired than those that take place elsewhere in Foster’s strip, and I felt that was the case with this volume, though there are still notable moments.

This volume opens with Val, Aleta, and their family on their way back to Camelot, and other than a little subplot in which Arn gets kidnapped and is rescued, they arrive there safely.

Prince Valiant, Vol. 14 includes King Arthur’s famous Battle of Mount Badon.

In the two years of work presented in this volume, Foster seems to be wanting to push his storyline closer to the catastrophe that brings about the end of Arthur’s reign, but at the same time, he holds back, making it happen very gradually. Once Valiant is back in Camelot, there are two key Arthurian moments in the book. The first concerns Modred (Foster’s spelling). Modred is complaining about how he and the other knights do all the work but Arthur gets all the glory and money. He has enlisted his four brothers of the Orkney clan, along with several younger knights, in his cause. When Gawain brings Valiant to one of Modred’s meetings, Valiant quickly makes the other knights see the treachery and lack of validity in Modred’s words so that soon all of the knights abandon him other than the Orkney clan. Valiant notes also that none of the established Knights of the Round Table are at the meeting other than those of Orkney.

The Orkney clan still wishes to plot with Modred. Modred wants to catch Lancelot and Guinevere in a trap and include Aleta in it. At this point, Gawain is torn between his friendship for Valiant and Aleta and his loyalty to his brothers. He warns Aleta to be careful, but she doesn’t understand the warning. The plot Modred ends up hatching is to distract and lead Valiant’s twin daughters away from the court just long enough so everyone will go looking for them. Both Aleta and Lancelot go looking in Guinevere’s private garden. The Orkneys lock them in the private garden for the night, thinking in the morning they will be found and it will look like they’ve committed adultery. (This plot doesn’t hurt Guinevere directly, but, of course, she’ll be heartbroken if Lancelot has to leave Camelot, and it will hurt Valiant also. If two of Arthur’s chief knights leave Camelot, Modred will have better opportunity for overthrowing the king.)

Of course, Modred’s plans come to naught. Valiant and Arn realize where Aleta is and climb over the garden wall. When the garden is later unlocked, Modred sees Lancelot and Aleta together and starts to accuse them, only to have Valiant and Arn then step out to show there is no dishonor because the four of them have all been together. Valiant then tells Modred he does not appreciate his insinuations. Modred, fearing Valiant will challenge him to a duel, flees Camelot, planning to continue to plot against King Arthur from a distance.

The other major Arthurian moment in this volume is the Battle of Mount Badon. I admit I found the battle a bit dull, but what is wonderful is the lead-up to it, involving Valiant’s son Arn. We have watched Arn grow up throughout the strip, and now he is old enough to go out as a scout, only to be captured by the Saxons. He gives them information about Arthur’s plans, then fakes his death when he escapes from them so they cannot know that he lives and has returned to Camelot to warn Arthur. The result is that Arthur knows exactly what to expect from the Saxons, so he takes them by surprise and soundly defeats them.

I’m not a fan of battle scenes, though Foster draws them well. What I love is the cleverness that Valiant and Aleta always display in getting out of sticky situations, and now it’s clear they’ve passed that cleverness on to their son.

It’s important to note that, according to most versions of the legend, Mount Badon was Arthur’s last great victory against the Saxons, followed by twenty or so years of peace before Camelot’s fall. One wonders whether Foster was starting to consider moving toward the fall of Camelot in the strip. By this point, Foster was in his early seventies, so he must have realized he could not draw the strip many more years, although it wouldn’t be until 1970 that he started looking for a successor and 1975 before he retired completely from the strip. In the end, I assume he couldn’t bear to see the strip end with his retirement, and so the fall of Camelot was put off indefinitely.

Valiant and Aleta’s twin girls are also growing up in this volume—they end up having their first crush on the same boy, and they employ a bit of trickery themselves to try to get him interested in them; however, they’re still too young to succeed, as is their victim, a twelve-year-old king. Nevertheless, I imagine they will be quite able to manipulate men with their feminine wiles just like their mother before too many more volumes have passed.

Two other passages worth noting in this volume are examples of Foster’s postmodern intrusion into the strip. I believe these are the first times he breaks the spell, reminding readers they are reading a story. The first is when he mentions that two characters ride out of the story. The second is when he claims the manuscripts he is basing the story on were damaged at one point, and so he can’t complete a specific episode and has to guess what happened. He then picks up the story with Valiant and Aleta traveling to Thule. The volume ends here with Valiant’s arrival in Thule where he has to trick some raiders to protect his father’s kingdom.

I wouldn’t say this is one of the stronger volumes in the series, but it still has its moments. Of added interest is the introduction by Roger Stern about other cartoon artists who engaged in “swiping” Foster’s work. “Swiping” is a term meaning copying or even plagiarizing. Numerous frames are presented as examples of Foster’s Tarzan and Prince Valiant strips beside frames of other cartoonists who have figures in similar poses—most notably a comparison between Tarzan and Batman’s poses—and also backgrounds that are so similar the artists obviously copied from Foster—one of an interior banquet hall in the Valiant strip is compared to one by Don Rosa for a Clan McDuck strip. Also interesting is the essay at the end of the book about Foster’s desire to be a fine art painter before he became a famous cartoonist. Several of Foster’s landscape paintings are presented—some are not overly impressive but some are quite exquisite. While he never saw his dream realized of being a famous painter, I’m sure Foster delighted far more people with his Tarzan and Prince Valiant strips than he ever would have with landscape paintings.

Volume 15 of the Prince Valiant reprints by Fantagraphics will be released in June. In it, there will be a return to the New World. Watch for the review later this year.

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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, Lilith’s Love, and the upcoming 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.