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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Imagination is the Salvation of Mankind.

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

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Did you know that King Arthur’s sister Morgan le Fay was the lover of Ogier the Dane, one of Charlemagne’s great knights? In fact, they knew each other since Ogier the Dane was first born. In my new novel Ogier’s Prayer: The Children of Arthur, Book Three, I explore their relationship.

Following is the opening scene in the novel where Ogier begins to tell his story, beginning with his first meeting the legendary woman who would be a guiding influence throughout his life.

From Ogier’s Prayer:

The first remarkable occurrence of my life took place when I was just days old, during my initial presentation to the court; it was not the day of my baptism or christening as the Christians would call it—for my parents and all of Denmark in those days were followers of the old Gods, Odin and Thor and all those who dwelled in the halls of Asgaard—but it was the day I was named and presented to the court as my father’s son and heir.

Although it was a great day of celebration, considering that an heir had been born to the king, the presentation was not expected to be anything beyond the ordinary for such events. But it soon became an extraordinary day because of a visit from unexpected guests. I remember little of the early years of my life, but that day, as I lay in my mother’s arms, facing the court, I witnessed such marvelous events that even a mere babe could not forget them.

From the Red Romance Book by Andrew Lang. The caption reads "How the Fairies Came to See Ogier the Dane." Ogier is a major character in the Charlemagne legends and beloved of Morgan le Fay. He is the major character in my upcoming novel "Ogier's Prayer: The Children of Arthur, Book Three.

From the Red Romance Book by Andrew Lang. The caption reads “How the Fairies Came to See Ogier the Dane.” Ogier is a major character in the Charlemagne legends and beloved of Morgan le Fay. He is the major character in my upcoming novel “Ogier’s Prayer: The Children of Arthur, Book Three.

My memory of that day begins just as my father presented me to the court, and the nobles and his other liegemen had formed a line to pay me homage and to swear to serve my father, the king, and his newborn heir. In the midst of this ceremony, first faintly, then growing ever louder, came the sweetest music that mortals ever heard. It seemed to originate from right outside the castle wall, but then it soared, as if carried on the wind, through the open window, and into the throne room. Nobody knew from whence such bewitching sounds could come, but many murmured how the music was so heavenly that they could only think we were to be visited by an angel.

But that misperception was soon corrected when through the window floated six female fairies. Each bore in her hands a garland of flowers and rich gifts of gold, gems, and other priceless valuables. I will never forget, from where I sat upon my mother’s lap, the sight of these lovely creatures. They were so beautiful and so aglow with light that the courtiers later admitted to feeling great awe and fear at the sight of them, but I only laughed with glee to see their radiant beauty, and I felt a great happiness descend upon me.

My mother, however, seemed afraid of the fairies’ presence, for I could feel her trembling once they had positioned themselves before the throne, the crowd having drawn back to provide a place for them to land, but instead, these six gracious beings hovered a few inches above the floor, their gossamer wings making a gentle, quiet, and cooling breeze.

Then the first fairy approached my mother and me, and said, “Fear not, good queen. We are here to bestow blessings upon your son.”

The fairy took me in her arms, kissed me upon my forehead, and said, facing the court so all could hear, “Better than kingly crown, or lands, or rich heritage, fair babe, I give thee a brave, strong heart. Be fearless as the eagle, and bold as the lion; be the bravest knight among men.”

I remember feeling such deep peace, and at the same time, such joy as she held me in her arms, and that peace and joy continued as I was passed into the arms of each of the fairies in turn.

When the second fairy took me into her arms, she sat down on my mother’s throne for my mother had risen and later stepped aside when the first fairy approached, and though it would have been treason for anyone else to sit on my mother’s throne, not a word was spoken when this fairy did so. For a moment, she dandled me fondly upon her knee, giggling with me, and then she looked me in the eye long and lovingly before she said, “What is a brave heart without the ability to do brave deeds? I give to thee many an opportunity for manly action.”

The third fairy then approached while I was yet on the second fairy’s knee, and kneeling before me, she took one of my hands in her own, and with her other hand, she stroked my hair, saying, “Strong-hearted boy, for whom so many noble deeds are waiting, I, too, will give thee a boon. My gift is skill and strength such as shall never fail thee in fight, nor allow thee to be beaten by a foe. Success to thee, fair Holger!”

The fourth fairy then took me from the second, who, with the third fairy, returned to her sisters, and this fairy then tenderly stroked my mouth and my brow before she said, “Be fair of speech, be noble in action, be courteous, be kind: these are the gifts I bring thee. For what will a strong heart, or a bold undertaking, or success in every endeavor, avail, unless one has the respect and love of one’s fellow men?”

Then the fifth fairy came forward; she clasped me against her breast and held me tenderly for a long time without saying a word. Finally, she looked at all the court, and she then held me away from her so she could look into my eyes and said, “The gifts my sisters have given thee will scarcely bring thee happiness, for, while they add to thy honor, they may make thee dangerous to others. They may lead thee into the practice of selfishness and base acts of tyranny. That man is little to be envied who loves not his fellow men. The boon, therefore, that I bring thee is the power and the will to esteem others as frail mortals equally deserving with thyself.”

And then the sixth fairy, the most beautiful of all, took me from the fifth; she lifted me high and danced about the room with me in rapturous joy, all the while singing sweetly a lullaby of fairyland and the island vale of Avalon, and then, although she never said her name, somehow I and all the court knew she was that fabled one, Morgan le Fay, sister to the great King Arthur and the Queen of Avalon.

When she had finished singing, Morgan le Fay placed a crown of laurel upon my head, and then a fairy torch appeared in her hand; when it lit by itself, it created a gasp of astonishment from all assembled. And then the Queen of Avalon said, “This torch is the measure of thy earthly days; and it shall not cease to burn until thou hast visited me in Avalon, and sat at table with King Arthur and the heroes who dwell there in that eternal summerland.”

And then Morgan le Fay gently placed me back into my mother’s arms, and with the torch still in her hand, she and the other fairies strewed the floor of the throne room with rich flowers and gems until all the air was filled with perfume and the angelic music resumed, and suddenly, a radiant sunbeam broke through the open windows until the room grew brighter and brighter and the light forced all to close their eyes, and at that moment, the music ended. After a second, when everyone opened his or her eyes, the fairies were nowhere to be seen, although the flowers and jewels remained.

And then I felt a great coldness come over me for the fairy’s blessings and their prophecies of my future fortune and mighty deeds were all that a mother could ever desire for her child, and this overwhelming joy must have filled my mother’s heart until it could not be contained and thereby burst. And in another second, my nurse ran to catch me as I tumbled from my mother’s lifeless arms.

 

Learn more about Ogier’s Prayer and purchase a copy of the novel at www.ChildrenofArthur.com

____________________________________________________________________________

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

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If you’re curious about my new novel, Ogier’s Prayer, the third book in my series about King Arthur and his descendants, here’s a peek at the prologue:

Prologue

803 A.D.

Year 187 by the Muslim Calendar

 

Haroun al-Rashid—sovereign over half the known world as ruler of the Abbasid Caliphate, which stretched from Arabia’s southern deserts to the great Caspian Sea, and from the Mediterranean’s easternmost reaches to the borders of India, so that all the world knew his fame and feared him, yet marveled at his magnificence and admired his wisdom and prowess—was terribly bored.

Tyler Tichelaar's newest Arthurian novel takes readers on a magic carpet ride from Charlemagne's France to Avalon, Jerusalem, and the fabled land of Prester John as King Arthur's descendants embark on a quest to fight an ancient evil.

Tyler Tichelaar’s newest Arthurian novel takes readers on a magic carpet ride from Charlemagne’s France to Avalon, Jerusalem, and the fabled land of Prester John as King Arthur’s descendants embark on a quest to fight an ancient evil.

The mighty caliph sat in his sumptuous palace in his glorious capital city of Baghdad and wondered whether there was anything at all left in the world that could possibly give him a few hours’ amusement. He had engaged in all manner of sport, warfare, and love during his youth. He was honored and esteemed above all in his domains and over all princes and heads of state outside the borders of his empire. Not even Charlemagne of the Franks himself could rival the caliph in any way. And now as the great caliph approached his fortieth year, he felt that everything there was to see and do, had been seen and done, and so being a great ruler was a sorry position to hold in life, for all manner of amusement had always been readily available to him, all his desires quickly and easily fulfilled, and only great boredom had resulted from all his prosperity and success.

Today, this mighty potentate was in a miserable, listless mood that not even wine nor song nor women nor games could dispel. Such was his mood when Giafar, the grand vizier and Haroun al-Rashid’s old and tried friend, entered his chamber. Bowing low, Giafar waited, as was his duty, till his master spoke, but Haroun al-Rashid merely turned his head and looked at his friend, and then he sank back into his former weary posture of being slumped in his chair. After a moment, he sighed in a manner that asked Giafar, without the actual use of words, “What is it this time?”

Now, Giafar had something of importance to say to the caliph, and he had no intention of being put off by mere silence, so taking Haroun al-Rashid’s sigh for permission, he made another low bow in front of the throne and began to speak.

“Commander of the Faithful,” said Giafar, “I have come to remind your eminence of how you have undertaken to observe, secretly and for yourself, the manner in which justice is done and order is kept throughout your great capital city. For that very reason, you came to Baghdad from your palace in Ar-Raqqah. And today is the day you have set apart to devote to this purpose, and perhaps in fulfilling this duty, you may find some distraction from the melancholy that I perceive is so strongly overpowering you.”

“Giafar, you are right!” exclaimed the caliph, suddenly stirred with a renewed interest in life. “Thank goodness you reminded me. I always find my people amusing, and at times, I have been able to right a wrong, punish an evildoer, and even gain some wisdom from the common folk. But what are you waiting for? Go, find our disguises, and we will walk among the common people as if we were one—or rather two—of them.”

Giafar bowed and quickly obeyed. Five minutes later, he returned with two disguises, and after assisting his master, within a few moments, they were both dressed as foreign merchants.

And in another minute, the caliph and grand vizier had passed through a secret door in Haroun al-Rashid’s private chamber that took them through a long and twisting tunnel beneath the palace. Soon they emerged outside through a hidden door in a city wall covered by a great shrubbery. Quickly, they merged with the crowds, as if it were an everyday ordinary activity for them to walk the streets of Baghdad, bartering in the bazaar, giving alms to beggars, and stopping to kneel when the call to prayer was sounded.

So disguised, Haroun al-Rashid was able to find some pleasure in this great joke that freed him from the burdens of statecraft. Often, he considered that he might so remain in such a disguise, with the intent to slip away from the palace and Baghdad and his own high position so that he might forget all his cares, for the ruling of an empire was no light matter. But he also knew that his wife, Zubaida, and his children, as well as the many millions of his subjects, depended on him. Should he disappear, his absence would cause all manner of problems for the empire and lead to rumors of his death, suspicions of foul play, and even civil war. No, he had a duty to his people and could not forsake it, but it did not hurt to fulfill that duty now and then by pretending to be one of the people so he could better understand those whom he ruled.

Despite the diversion of pretending to be a foreign merchant, today the great caliph found no amusement in the streets capable of diverting him from his melancholy and boredom. He was pleased to see the peace and good order of the city; his people appeared content, and he could observe that the city was prosperous. Even the blind beggar he passed had a smile on his face.

“Blind one,” he stopped to inquire, “what reason gives you cause to be smiling?”

The beggar’s smile only widened at the question, and looking over the caliph’s shoulder, he pointed up into the sky.

“He is not blind!” exclaimed Giafar. “Blind men do not point at the sky!”

But the blind man continued to point, and his dishonesty was quickly forgotten when Giafar and Haroun al-Rashid both turned to discover what so commanded the beggar’s attention.

Soon everyone in the street was also staring—and pointing, and gasping, and exclaiming, “Is it a genie? An evil sorcerer? It can’t be real! Am I seeing things?”

Haroun al-Rashid had never in his life doubted his own vision, but at that moment, he came very close to it.

“A genuine magical flying carpet!” exclaimed Giafar.

“It is indeed!” Haroun al-Rashid agreed. “The stuff of genie tales.”

The carpet was floating over the city, just perhaps fifty feet above it, slowly growing closer and gently descending. For a good five minutes, everyone in the streets of Baghdad stared up at it, murmuring in astonishment, and children crawled up onto their parents’ shoulders so they might see it better.

In a little while, the carpet descended so that it landed on the flat roof of a house. And when the man, who had previously sat cross-legged upon it and whose appearance had been difficult until now to see clearly, stood up, even more gasps filled the street.

This man was no native of the city, nor even of any city or property in all the great Abbasid Caliphate. This man had a light complexion like no one in Baghdad had ever seen. His hair looked to have been spun from gold, and he was clad in shining silver armor that sparkled in the sun.

“Is it a god?” cried one woman.

“Blasphemy!” a man replied.

“It must be a Christian,” said another man. “For look at his pale skin—and a Christian is the farthest thing from a god that anyone could be!”

The golden-haired man was beautiful, however, and tall and finely formed, and dazzling even without a smile, for he looked uncertain, looking down first upon the crowd, and then at the magic carpet beneath his feet, as if willing it to fly back up into the air.

And then the magic moment was broken as three soldiers stormed into the house, upon the roof of which the golden-haired man stood.

In another minute, the soldiers had arrived on the roof, and the Christian knight, if that is what he was, had drawn his sword, ready to do battle.

“Drop your sword!” cried one soldier. “You are under arrest by order of his great majesty, Caliph Haroun al-Rashid!”

The caliph heard his name invoked, but he made no move, not wishing to reveal his true identity, but even more so, wishing to see how this fight would turn out.

The golden-haired stranger, instead of dropping his sword, charged toward his assailants, and within a minute, the three soldiers found their own weapons struck from their hands and sent flying into the street, the crowd quickly dodging them. One man, in the fight that ensued, stumbled over the roof’s edge and went crashing into the crowd, causing a bystander a broken arm. Another, in fear, jumped onto a neighboring roof, while the third soldier fell to his knees, begging mercy from the golden-haired, godlike warrior who had so mysteriously appeared in their city.

“Now!” exclaimed the stranger, “you may take me to your king, but I go as his guest, and not as a prisoner to any man.”

After recovering from his astonishment, the kneeling soldier regained his feet and did as he was bid, leading the way back down through the house. The stranger stopped a moment to put his sword back into its sheath; then he bent down to gather up the magic carpet, roll it, and tuck it under his arm, before descending through the house.

As the crowd waited in astonishment to see this amazing warrior enter the street, Haroun al-Rashid said to Giafar, “Quickly. We must return.” And elbowing their way through the clamoring crowd of men, women, and children, all seeking to get a glimpse of, or even better, to touch the mysterious stranger, the caliph and his grand vizier made their way back to the secret tunnel that would allow them to return to the palace.

Within half an hour, they were once again in the caliph’s private chamber, and immediately, they heard a rapid, insistent pounding on the door from the servants who repeatedly cried, “My caliph, are you there? Please, a great marvel has happened. Come quickly!”

“I will be there in a moment!” the caliph shouted, perturbed by his servants’ impatience; they should know better than to harangue him.

Then there was silence, for once confirmation was heard of their master’s presence, his servants dared not anger him.

Giafar quickly helped his master change out of the merchant’s clothing and back into robes suitable for a great ruler to receive an esteemed visitor.

Then Haroun al-Rashid stepped toward the door and placed his fingers around the handle to open it, but first he turned back and said to Giafar, “Have that deceitful blind beggar found and thrown into prison for his falsehood.” When the caliph did open the door, dozens of servants, his wife, children, and ministers all bowed before him and created a path so he could pass through. Haroun al-Rashid ignored them all and strode through the palace to his throne room where he intended to receive his illustrious guest.

Once seated, with a wave of his hand, the caliph ordered the guards to open the door. Then in strode the golden-haired man, taller than everyone else in the room, and escorted by six more soldiers, whom no doubt he could have easily divested of their swords if he had so wished, but instead, he had willingly given up his own sword, his air of confidence and bearing declaring he felt no need for it.

The mysterious stranger came to a stop a few feet before Haroun al-Rashid’s throne, and after bowing, he awaited permission to speak.

“Stranger,” said the caliph, “we have seen with our own eyes your amazing entry into our great city. We would know your name and your purpose here.”

“Great Caliph,” said the golden-haired giant of a man, “I am Ogier the Dane, one of the paladins to the great Charles, King of the Franks, and in my own right, Prince of Denmark. I am a stranger here in your domain, it is true, but I come in peace on a mission I can share with your ears alone. I beg a private audience with your majesty.”

By then, the multitude of the royal household had crowded into the throne room. They now all gasped at such a bold demand from a stranger.

Haroun al-Rashid waited a moment as everyone reacted to this unusual request, and then, clapping his hands together, he ordered, “Silence!”

The room became still as Haroun al-Rashid looked deep into Ogier the Dane’s eyes, searching as if to read his very soul. After a moment, he rose from his throne and stepped forward.

The silence was broken when he placed his hand on Ogier’s shoulder, a familiarity he had never shown in public to any man, not even to Giafar.

“Come,” said Haroun al-Rashid. “I have been sorely bored, and you have brought me pleasure in the unexpectedness of your visit. Your words speak truth, for you look to be one of noble breeding, and your eyes bespeak suffering but also wisdom. I will hear your tale, but first, we will have you properly bathed and fed.”

And then leading the way, Haroun al-Rashid personally escorted the stranger to his own private bathing pool where he left him under the care of his servants, saying to Ogier, “Please refresh yourself, and then my servants will bring you to me to dine. Over our meal, I will hear with great pleasure all you have to say.”

And so it was, in an hour’s time, that Ogier the Dane, Prince of Denmark, thousands of miles from the cold northern climes where he had been raised, found himself dining with Haroun al-Rashid, the Caliph of the Abbasid Empire, the most powerful man in the world.

Seated at a table, the caliph ordered wine for his guest and also all manner of sweetmeats and fruits and vegetables, every delicacy known within his great empire, and as they began to eat, the caliph said, “Now, I wish to hear your tale for I have no doubt it is a marvelous one.”

Ogier the Dane nodded in agreement and said, “My lord, I will be most pleased to tell you my story, and perhaps when I have finished, you will be good enough to aid me, though I am but a humble knight of Charles the Great, King of the Franks.”

“We are good friends with King Charles,” replied the caliph, “although he now calls himself an emperor, so I am surprised you do not show him the respect he deserves with that title.”

“Emperor?” muttered Ogier. “Emperor of what?”

“He was crowned as Holy Roman Emperor by the Pope. Did you not know this? It has been two or three years now since it happened.”

“No, I…I—”

“It seems you have been journeying far from home for a long time then, Prince Ogier.”

“I believe so, your majesty,” replied the Dane.

“Come. Tell me all about it. When did you leave King Charles’ court, and how did you come to be in my domains?”

“That is a long, long tale, Great Caliph, and I find it not easy to know where to start. I do not wish to weary you, but I fear we must begin just a few days after my birth.”

“I am prepared for a tale as long as you have to tell,” Haroun al-Rashid replied, “and we have all night for the telling.”

“I suspect it will take at least that long, if not longer,” Ogier began, “but I am happy to obey your command to hear it, and I hope that in my words you will find the entertainment you seek.”

To read more, order the book at www.ChildrenofArthur.com or Amazon.

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Tyler Tichelaar, Ph.D., is the author of the historical fantasy series, The Children of Arthur, the nonfiction books King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer, and many more novels and other books. You can learn more about him at www.ChildrenofArthur.com and www.MarquetteFiction.com

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Marquette, MI, December 9, 2015—Three centuries after she carried her brother, King Arthur, to Avalon, Morgan le Fay is still interfering in the lives of mortals. At the court of Charlemagne is the handsome and virile Prince Ogier of Denmark, and Morgan le Fay has surprising plans for him. Now Ogier tells the story of his amazing adventures in award-winning author Tyler R. Tichelaar’s new historical fantasy novel Ogier’s Prayer: The Children of Arthur, Book Three.

Tyler Tichelaar's newest Arthurian novel takes readers on a magic carpet ride from Charlemagne's France to Avalon, Jerusalem, and the fabled land of Prester John as King Arthur's descendants embark on a quest to fight an ancient evil.

Tyler Tichelaar’s newest Arthurian novel takes readers on a magic carpet ride from Charlemagne’s France to Avalon, Jerusalem, and the fabled land of Prester John as King Arthur’s descendants embark on a quest to fight an ancient evil.

Ogier the Dane is the greatest knight since King Arthur. Blessed at birth by Morgan le Fay and her fellow fairies, he has always known a great destiny awaits him. Even when his evil stepmother Gudrun turns his father’s affections against him, leading to his exile at Charlemagne’s court, he does not cease to aspire to greatness. There he befriends the great knight, Roland, and he achieves many valorous deeds, rescuing princesses and surpassing other men at arms.

Then Ogier’s father dies and his evil stepmother secretly marries Roland’s uncle, Geoffrey, son of the mysterious fairy Melusine. When, soon after, Ogier learns that Gudrun has murdered Geoffrey and taken Melusine’s magic ring, he fears Gudrun has sinister and far-reaching plans. Ogier soon pursues her beyond the limits of the known eighth century world. From France to Avalon, and from the fabled land of the legendary Christian king, Prester John, to the court of Haroun al-Rashid, the caliph of Arabian Nights fame, Ogier finds himself caught up in more adventures and mysteries than he ever could have conceived. Most importantly, before his quest is completed, he will discover that the power of prayer can work wonders that no manner of manly prowess could ever accomplish.

Bookending Ogier’s tale is that of Adam and Anne Delaney, a twentieth century couple who have appeared in each volume of the Children of Arthur series. The Delaneys’ children have just been kidnapped, and they fear it is by the latest incarnation of Ogier’s evil sorceress stepmother, who is preparing to unleash havoc upon the human race. In their efforts to protect their children and stop this ancient supernatural woman, they are guided by the great magician Merlin, who reveals to them their own family’s connections to Morgan le Fay and her lover Ogier.

Arthurian authors and fans have been delighted with each volume of the Children of Arthur series. Sophie Masson, editor of The Road to Camelot, praises the first book, Arthur’s Legacy, as “an intriguing blend of action-packed time-slip fantasy adventure, moving love story, multi-layered mystery, and unusual spiritual exploration.” Cheryl Carpinello, author of Guinevere: On the Eve of Legend, proclaims that the second book, Melusine’s Gift, is “reminiscent of those ancient Tales from the Arabian Nights where one story flows into the next…. I can’t recommend this series enough.” And Roslyn McGrath, author of The Third Mary, calls Ogier’s Prayer an “inspirational re-visioning of the past…vivid, suspenseful storytelling will leave you craving the next installment of this thought-provoking, delightfully plot-twisting series!”

Tyler R. Tichelaar, Ph.D. is the author of numerous historical fiction novels, including The Marquette Trilogy, The Best Place, and the award-winning Narrow Lives, as well as the scholarly books The Gothic Wanderer and King Arthur’s Children and the play Willpower.

Ogier’s Prayer: The Children of Arthur, Book Three (ISBN 9780996240017, Marquette Fiction, 2015) 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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