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As I noted in my last blog post, Sarah Luddington’s novel Lancelot and the Wolf has gained a lot of attention for its explicit sex scenes between Lancelot and Arthur. While the sex scenes are fairly spicy, the truth is that there’s little else in this novel to make a fuss over. I’m not saying it’s a bad book, but it’s obviously a self-published book (not a bad thing in itself) and one badly in need of a good editor.

Lancelot and the WolfFor those who want to explore the love between Arthur and Lancelot, they will find a few explicit sex scenes, but also a convoluted plot. The story begins with Lancelot having left Camelot in shame and in exile in France (although I was well into the book before I realized he was in France). Why he left has something to do with his love for Guinevere, but it’s never really clear what happened until halfway or better through the book (not because the author is purposely withholding information for suspense, I’m afraid). Lancelot ends up returning to Camelot after he meets Else, who turns out to be Merlin’s daughter and part fey. Her real name is Eleanor de Clare, and that’s where the string of anachronisms in the novel begins….I’ll get to those in a minute. Anyway, through his interactions with Eleanor de Clare, Lancelot comes to learn that evil spirits are threatening Camelot and he must return there to save Arthur. The plot has its twists and turns and moments where I had to go back to reread because I got bored and wasn’t paying attention to what I was reading, although at other times, the story moves forward quickly.

As for the anachronisms, Luddington drops words and names and doesn’t always follow through or explain them. At one point, she refers to Wessex—where and what is that? King Arthur lived probably in the 6th century—Wessex, an Anglo-Saxon kingdom, was in its infancy if it even existed then and there are no Saxons in this novel; nor is it clear whether the story takes place in Wessex. Happy is the reader whose author provides a map. Later, there are references to England. Whatever happened to Britain? As for Eleanor de Clare, there was a historical woman of that name who was niece to King Edward II and married to Hugh le Despenser (read Susan Higginbotham’s wonderful novel The Traitor’s Wife for Eleanor de Clare’s story). Luddington’s Eleanor de Clare is not the historical woman and her Norman surname has no place in an Arthurian novel.

In her afterword, Luddington states that she likes the Arthurian world of Malory more than the historical Arthur. She has set her Camelot in a time equal to that of the Hundred Years War of the fourteenth and fifteenth centuries, and that’s fine. A good editor could have helped clean up, smooth over, and explain the anachronisms to her later medieval period story. And Luddington does have a good imagination and an ability to write prose that moves the plot forward and can be a fun and easy read. She just needs to work at it more or find a good editor to help her. Perhaps the other novels in this series show improvement.

Unlike Stephenie Meyer of Twilight fame, who claims she never read a vampire novel or saw a vampire film (a claim I don’t believe but that’s another blog and it would be hard to say whether Luddington or Meyer is the better or worse writer—but at least Meyer had a decent editor), Luddington states in her afterword, “see I’m educated, even if I can’t use commas properly” (I’m glad she realizes her punctuation problem because her comma use or lack of use irritated me quite a bit). Her use of “educated” means she has read other Arthurian works and is familiar with the literary tradition, citing such authors as Geoffrey of Monmouth and Chretien de Troyes—so she does have some knowledge, but fact checking we apparently can’t expect, considering she mentions that “In the space of the two hundred years between Geoffrey of Monmouth and Chretien de Troyes we’ve seen a vast sea change in the way the myths are presented.” Hmm, I’ll pass over the “myth vs. legend” issue here and point out that Geoffrey of Monmouth wrote his History of the Kings of Britain around 1135 and Chretien de Troyes wrote The Knight and the Cart around 1180—hardly a 200-year difference. A good editor would have caught that mistake as well.

I read the “Special Edition” of Lancelot and the Wolf which included two extra stories and a novella in it, which left me wondering just how many gay men lived in Camelot—seems like a lot to me. By the way, the novella “Taliesin’s Song” I actually think I enjoyed more than the novel itself.

Lancelot and the Wolf is a fun book to read if you don’t have high expectations for it. If you’ve already read the works of Marion Zimmer Bradley, Mary Stewart, Jack Whyte, Bernard Cornwell, Stephen Lawhead, and about a dozen other authors I could name, then you will find Lancelot and the Wolf disappointing, but you’ll maybe read it because like me, you read all the Arthuriana you can. On a scale of 1-5, I will give it 3 stars. If you are looking for gay Arthuriana, you might be more likely to enjoy it, but it’s still a 3 star book. That said, if you buy it, buy the special edition Kindle version for $3 because the proceeds go to Stonewall to fight gay discrimination. The greatest strength of this book is Luddington’s willingness and courage to write a gay Arthurian novel. I doubt it will go down in literary history as a great book, but one of those books that nevertheless made an impact and hopefully paved the way for greater books.

The ultimate question is: Was Lancelot and the Wolf good enough to make me read the next book in the series, Lancelot and the Sword? Yes, I think there’s a 50/50 chance that I will, although I won’t be rushing to buy it right away but it might be something to read while I wait for the next season of Merlin.

For more information about Luddington and her novels, visit her website http://www.darkfiction.eu/ and the site devoted specifically to the Lancelot novels, www.theknightsofcamelot.com

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I’m very pleased to announce the publication of my latest book The Gothic Wanderer: From Transgression to Redemption, Gothic Fiction from 1794-Present by Modern History Press, which formerly published my book King Arthur’s Children. This new book has been about fifteen years in the making, having begun as my doctoral dissertation at Western Michigan University, and it has since been expanded and updated to include discussion of why I love the Gothic, and not only the classic nineteenth century British Gothic novels, but to explore how that tradition influenced works throughout the twentieth century and to the present day.

Here is some information from the back cover about the book:

From the horrors of sixteenth century Italian castles to twenty-first century plagues, from the French Revolution to the liberation of Libya, Tyler R. Tichelaar takes readers on far more than a journey through literary history. The Gothic Wanderer is an exploration of man’s deepest fears, his efforts to rise above them for the last two centuries, and how he may be on the brink finally of succeeding. Whether it’s seeking immortal life, the fabulous philosopher’s stone that will change lead into gold, or human blood as a vampire, or coping with more common “transgressions” like being a woman in a patriarchal society, being a Jew in a Christian land, or simply being addicted to gambling, the Gothic wanderer’s journey toward damnation or redemption is never dull and always enlightening.

Tichelaar examines the figure of the Gothic wanderer in such well-known Gothic novels as The Mysteries of Udolpho, Frankenstein, and Dracula, as well as lesser known works like Fanny Burney’s The Wanderer, Mary Shelley’s The Last Man, and Edward Bulwer-Lytton’s Zanoni. He also finds surprising Gothic elements in classics like Dickens’ A Tale of Two Cities and Edgar Rice Burroughs’ Tarzan of the Apes. From Matthew Lewis’ The Monk to Stephenie Meyer’s Twilight, Tichelaar explores a literary tradition whose characters reflect our greatest fears and deepest hopes. Readers will find here the revelation that not only are we all Gothic wanderers—but we are so only by our own choosing.

With the publication of The Gothic Wanderer, I have also launched a new website www.GothicWanderer.com, designed by my good friend Larry Alexander of Storyteller’s Friend. At this website, not only can you find more information about the book, but I will also be blogging about all things Gothic, and for those of you interested in the Arthurian legend and my blog at ChildrenofArthur.com, I’ll be tying the Gothic and the Arthurian legend together into my upcoming series of novels based on the Arthurian legend, so watch for many Gothic and Arthurian topics on both blogs.

Please visit www.GothicWanderer.com – if you ever wondered about the story behind the story of great books like Dracula and Frankenstein, you won’t be disappointed.

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