Two Honors for The Once and Future Queen

I’m happy to be able to say that The Once and Future Queen recently received two awards:

  1. First in category for Instructional & Insightful Non-Fiction Books at the Chanticleer Book Awards.
  2. The Indie BRAG Medallion, which honors the best in independently published books. This is my fourth Indie BRAG Medallion.

Here are some comments from the Indie BRAG reviewers:

“When I chose this book, I wanted to send out a warning to the author “I LOVE Guinevere stories and have read a great many of them. Well, good for you Ms. Evelina, this was not a disappointment! This is a very well researched book told in a very fluid and readable way. I will certainly be looking forward to the next book in this incredible story. Thank you.”

“This is a very thorough examination of Queen Guinevere in literature for at least 1000 years. It is well-researched and well-documented with an abundance of footnotes. There is a clear line discussing the changes in the character through the years. I enjoyed the book very much.”

“Extremely well-researched with comprehensive footnotes. An excellent compendium of scholarly research and fictional sources, both ancient and modern. A useful reference book to have in the library of anyone interested in this period.”

“This is a very well researched book with a number of new, to me, insights. I will be interested in reading what the author does next.”

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I Made a BookRiot List (!!!) and Other Fun Updates

So I made my first list today! Bookriot does all kinds of cool book lists, and this one, Rex Quondam, Rexque Futurum: Arthurian Legend in History And Literature, is even cooler because a) it’s about Arthurian Legend and b) I’m on it for Daughter of Destiny! It is so thrilling to be in the company of major award winners like Kazou Ishiguru, legends like Persia Woolley (to whom The Once and Future Queen is dedicated) and my real-life friends like Helen Hollick. Plus, I added Song of the Sparrow by Lisa Ann Sandell to my TBR list.

If that isn’t enough, I’ve got an article on author branding in the November issue of InD’tale Magazine (p.23-27). This article is also the basis of one of the online classes for authors that I’m developing with Teachable. Hoping to have those available to you by the end of the year.

And I have the next to final layout of The Once and Future Queen in my hands. I have two days to proof and index it. If you don’t hear from me for a while, that’s what I’m doing.

Plus, I am toying with the idea of exhibiting next year at Wizard World convention in St. Louis, where Sebastian Stan (the inspiration for Nick in Been Searching for You) is slated to appear. Yep, I’m going to go all fangirl on him. Actually, I’ll be more crazy author “OMG-you-are-my-character-come-to-life,” which I think is worse! We’ll see if it works out.

Oh and speaking of 2018, I found out that the Historical Writers of America conference will be in Rhode Island, which is the major place I need to go to research my biography of Marie Rose Ferron. So that book may be finished much sooner than I anticipated.

Huffington Post Article on the Women of Camelot

I’ve known for months that when Guy Ritchie’s King Arthur movie came out (as it does tomorrow in the US) I wanted to share some of the many books that have been written about Arthurian women. What I didn’t expect is to go on about the lack of movies about female Arthurian characters. Well, I’ve done both in this article in the Huffington Post! Happy reading! (And I hope you find another book you’d like to add to your list!)

 

Memorial Stones & the Un-happily Ever After of Arthurian Legend

The Vanora Stone (source: Wikimedia Commons)

The Vanora Stone (source: Wikimedia Commons)

Arthurian legend is one type of folk tale that certainly does not end with “and they lived happily ever after.” In fact, it’s unclear exactly what happened to our favorite characters after the battle of Camlann.* In the most familiar versions (though not all), Arthur and Mordred are killed in the battle. Guinevere enters a convent to live out her days in penitence, and Lancelot becomes a monk. Sometimes, the two lovers meet one last time, while in other stories, Lancelot is called to the side of the dying Guinevere, but arrives too late and dies of a broken heart.

What then, are we to make of the mysterious carved stones that bear their names? Are they more a part of folk legend than truth? Or did Guinevere and Lancelot seek refuge in Scotland there after the battle? Was Tristan real? Or perhaps some of the theorists are correct and they were all from the area to begin with. We likely will never know the truth. But the stones do make for some thought provoking reading.

Guinevere
According to one interpretation of a Pictish carved stone found in a Highland area called Meigle, after Guinevere was kidnapped and released from the clutches of Mordred (in this version, he’s a Pict), Arthur had her executed by ordering her torn apart by wild animals (dogs or lions, depending on who is telling the tale). Supposedly, the stone, called the Vanora stone (Vanora being a version of Guinevere) marks where she is buried and tells the story of her death.

Lancelot
And Lancelot? There is a stone for him in Scotland, too. At least I know I read about one, but of course, I can’t find where I read it. It’s possible that I’m making it up, I don’t think I am. One thread of legend associates Lancelot with the name/area of Angus, which is something that shows up in my third Guinevere book. If any of you happen to know what stone I’m thinking of, please let me know in the comments. It’s driving me crazy that I can’t find it!

Tristan

The Tristan Stone (source: Wikimedia Commons)

The Tristan Stone (source: Wikimedia Commons)

Depending on the version of the story, Tristan may have been killed by King Mark for having an affair with Isolde, or he may have died in Brittany of a broken heart, thinking Isolde no longer loved him. Either way, his body was brought back to Cornwall, or he was buried there. A 1,500 year old stone in Cornwall near the town of Fowey that memorializes a man named Drustans who is believed to be connected with a possible historical or mythological inspiration for Tristan.

Arthur
Lest you think I forgot about the Once and Future King, I’ll just mention here that there are hundreds of places across England, Wales, and Scotland supposedly associated with King Arthur. The most famous, is of course, the “grave” at Glastonbury Abbey, which has been almost certainly proven as a hoax. (Here’s the latest article.)

*In some versions of the legends, Guinevere is dead long before Camlann, either from disease or by Arthur’s own hand. In others, she helps Mordred in his bid for the throne and therefore must be punished by Arthur. 

Sources
http://www.undiscoveredscotland.co.uk/meigle/meiglestones/
http://arthurianscotland.wordpress.com/2013/06/23/vanoras-stone/#more-76
http://www.cornwalls.co.uk/history/sites/tristan-stone.htm
http://www.bbc.co.uk/news/uk-england-somerset-34908894
http://www.electricscotland.com/history/lancelot.htm

What do you think about the memorial stones? I think they are likely an outcropping of legend, but that’s just me.

Once Upon a Time Tackles Arthurian Legend & Guinevere

Queen_GuinevereThe minute I heard Guinevere and King Arthur were going to be a major story line on Once Upon a Time this season, I knew I had to watch it. I wasn’t so much curious about the way they’d handle the whole legend (I already didn’t like their Lancelot who was in season 2 when I was still watching – he was just, meh), as I was how they would handle Guinevere, for obvious reasons.

There was a really great quote about Guinevere being the true power behind Camelot – with which I wholly agree.

But beyond that? Historically accurate and true to the legend it is not. Inconsistent it is.  (Spoiler alert – stop reading if you don’t want to know details.)

Guinevere
Guinevere is a mixed bag as a character. She doesn’t do anything at all until episode 4, and even then the way she is portrayed varies within the episode. At first she seems docile, and then all of a sudden, Arthur has disappointed her with his alienating obsession one too many times and she’s in full on I’m-not-going-to-take-this-crap, I-can-solve-this-problem-myself mode. THIS is the kind of woman I want to see! She takes the initiative to find the object Arthur is obsessing over (don’t ask – it’s a McGuffin made up for the show), her determination so strong all poor Lancelot can do is trail behind and vow  to protect her. *snort* This woman doesn’t need a guardian, as she proves when she rescues him from a dark evil swarm of…something…bats?…magic? Whatever.

Guinevere is in sight of said McGuffin, but her access is blocked by Rumplestiltskin, who offers her magical sand from Avalon instead. This is where Guinevere becomes an imbecile, much like her legendary counterparts. Instead of being a clever woman and bargaining with him or at least TRYING to out-think or fight him, she ends up taking the sand, which is said to be able to “fix” anything. Later, when Arthur reveals he knows about her and Lancelot kissing and she threatens to leave him for Lancelot (she gets points for that), she falls for the old “magic sand in the face” trick. Suddenly, she’s docile, my-husband-is-wonderful Stepford Guinevere…and their marriage is “fixed.”

I get that this is magic and there may be some subtext in that the only way Arthur could control his wife is through magic, but it really made me want to bang my head against a wall. This show is famous for taking strong fairy tale women with agency (Snow, for example) and allowing magic to turn them into useless beings (Mary Margaret may be nice, but she’s not so bright). The only one who seems to have escaped that “curse” (pun intended) is the Evil Queen/Regina. I would have liked to have seen a consistently strong Guinevere from a show that at least, at times, has been the only thing in popular culture to showcase women with brains, beauty AND power.

As Rebecca Jane Stokes writes at Den of Geek, “While it’s refreshing and cool to be presented with a powerful incarnation of Guinevere (instead of a wet noodle in the center of a love triangle), they immediately zap her of any power courtesy of Gold’s red dust. The show is so scared of anything that might be perceived as being outre – LET Guinevere cheat on Lancelot! It’s a complicated story! One we’d watch!”

I find it telling that the other fairy tale woman in this episode is Merida from Brave. They did an AMAZING job with her. She was everything I wanted Guinevere to be: strong, courageous, kick-ass, not-going-to-back-down from her beliefs. I wonder why they felt like they should keep her agency, but not Guinevere’s? Maybe Brave is too recent a story for them to feel like they could cheat with it? I’m just happy someone was allowed to stay strong. Pray she remains that way.

(The actress that plays Merida looks so much like the character, it’s frightening. OUAT’s casting directors get props for that and for keeping diversity in mind with the Arthurian cast, although for me, it’s distracting because it doesn’t fit the legend. But at least this Guinevere isn’t a blonde!)

A Few Other Thoughts: King Arthur and Arthurian Legend
Most of the Arthurian story line is very medieval, even down to Camelot castle being modeled after

Were they even trying? Neuschwanstein castle on the left, OUTA's Camelot on the right.

Were they even trying? Neuschwanstein castle on the left, OUTA’s Camelot on the right.

Neuschwanstein castle in Bavaria, itself the model for the Disney castle (hello, Hollywood, there are beautiful castles in Spain, France and all over the British Isles you can use, too). And it doesn’t play well with traditional legend, but that show is known for twisting up the tales.

But the interesting thing to me is the writers seem to have taken a cue from older Arthurian legend for the character of Arthur. At first he seems to be the benevolent king that we’re used to, but then he reveals a dark side: he’s so obsessed with finding the McGuffin that he is nearly insane. This is a dark side rarely seen by those who don’t know the early legends. I’ve seen quite a few people online talk about how “stupid” or “unbelievable” a dark or possibly evil Arthur is, which proves they only know the whitewashed medieval version.

I haven’t watched episode 5 yet, but from the recaps I’ve read, it doesn’t seem to further this story line much. I only hope that once the magic Avalon dust wears off (sorry folks, there’s none of that in my books), we’ll have a strong Guinevere who can learn from Merida and take her rightful place in history and on our TV screens.

Do you watch Once Upon a Time? What are your thoughts? Do you think we’ll EVER see a strong Guinevere on screen?

[Guest Post] Elaine of Corbenic by Tima Z. Newman

image001Today, my special guest is Tima Z. Newman, whose new book, Elaine of Corbenic, is new take on an often overlooked character in Arthurian legend. I personally love the character of Elaine and can’t wait to read Tima’s book. Take it away, Tima!

—–

He opened the door.

A woman stood looking out the window, her back to him. She was clothed in blue and azure interfaced with rose, her black hair tumbling loose. It was not Guinevere.

She turned at the sound of the door opening.

“I had thought to find the queen here,” Launcelot began.

“No.” Elaine’s lips trembled as she spoke the single word. She wore no jewelry. The open neckline revealed the young throat he had once glimpsed wet in the stream from a distance. A quality like the moistness of dew lay upon her, yet in that moment he saw that she whom he had thought child was also woman….

Elaine of Corbenic is an Arthurian character that is often eclipsed in the shadow of Elaine of Astolat, immortalized by Tennyson’s “Lady of Shallot” and John Waterhouse’s and Rosetti’s art, as well as overshadowed by the legendary passionate love of Launcelot and Queen Guinevere.  Elaine of Corbenic only briefly appears in Malory’s account of the Arthurian saga.  Yet she is the one who bears Launcelot’s son. And unlike Elaine of Astolat, Elaine of Corbenic does not pine away for Launcelot, to be carried down a barge, but goes to King Arthur’s court to fight for recognition by Launcelot, and when two years later he is discovered in his madness, it is the Grail of which Elaine was once bearer which brings Launcelot healing.

I found myself drawn to her character when I came across the tale some many years ago, and began writing her storyand my book has just now been released by Savant Books.  Based on Malory’s account in Le Morte d’Arthur of the three brief encounters of Launcelot and the Fisher King’s daughter, my ELAINE OF CORBENIC is the chronicle of their poignant romance—and of Elaine’s journey through abandonment and despair to the finding of inner strength and deepening wisdom.

I have taken poetic liberties with Malory’s account, telling it from Elaine’s point of view, and leaning at times toward a metaphoric and symbolic interpretation.  For instance, in Malory’s account Launcelot lay with Elaine thinking all the while she was Guinevere, both times drugged by a potent potion of Lady Breusen’s. It seemed clear to me that while the more magical an enchantment Launcelot might claim, the more efficacious an excuse it might have been, any such enchantment in reality was more like due to the close presence of the young Elaine than to any potion or brew.

Offering the poetry of medieval legend, for me the tale speaks to contemporary themes of love, betrayal, abandonment and the finding of identity—and also the deep longings of the spirit, the quest for the sacred, and the search for meaning in the mystery threading through our lives.  My rendition approaches the grail legend in a way that reflects an evolving relationship to the mystery of the grail embodied in life itself. In the heart of the heroic Arthurian legend, it offers a deeply feminine spirituality, threading through the pain and joys of a young girl’s heart, a single mother’s hopes and broken dreams, and a fierce determination to find the grail’s meaning.

The novel wrote itself over the course of a few months the spring of the year of my arrival in the Bay Area, its first paragraphs emerging as I climbed among the gorse covered hills, my own young son in tow….

Corbenic’s valley lay hidden, in a corner of Lystenoys close by the sea, and it was not wholly by chance that any man found his way there, including Launcelot.

It was spring when he came; the hills of the valley were verdant, and the evening mists fragrant. Spring was short in that part of the country, except in the valley where the castle lay, where the mists rolled in from the sea, and a stream from the hill flowed into the river which bordered the castle’s south wall. The rains were meager and often did not come, so that the land surrounding the valley was barren and wasted, the tufts of grass dry and sparse over the rocky soil. What green did come from the winter snow quickly browned and withered in the summer sun. That week though, in the rocky barren seacoast land of Lystenoys, spring was in the air, the sky was blue and the gorse blooming yellow

She was not looking for love that day. It is true she had not passed through her youth without hearing minstrels’ songs and dreaming girls’ dreams of some noble prince bearing her away….. Though her father lacked wealth, and his land was no great lure, her blood was royal, and her face fair. There was, true, a strangeness about her family, the strain of mystery that hung about their lineage. Lystenoys lay sequestered far from the main thoroughfares of Britain, and Corbenic’s valley was hidden. However, that the strangers were few who came through was of little import, for there were worthy enough lords in the court of Corbenic itself.

Yet in the end, she had no thought for the knights of her father’s court. The aura of the grail that haunted her dreams was fullness enough for her. She was Elaine, daughter of the fisher king and of the lineage of the grail keepers, and the mystery of the grail, the sacred cup that lay within Corbenic’s walls, was in her very blood. Nothing else could find space in her heart. Until Launcelot came.        

There is a short Youtube video produced by the publisher at https://www.youtube.com/watch?v=OJUxyY_Y1yk.

The press release for the book can be found at http://www.prlog.org/12449579; and signed copies are available (with free postage in the U.S.) through my author website  http://elaineofcorbenic.yolasite.com/  (The book may also be ordered directly from the publisher at www.savantbooksandpublications.com or from Amazon.)

Tima Z. Newman
Author of ELAINE OF CORBENIC (Savant 2015)
http://elaineofcorbenic.yolasite.com/

Zoe Newman, MFT, is a psychotherapist in Berkeley, California

Zoe Newman, MFT, is a psychotherapist in Berkeley, California

Tima Z. Newman has written as far back as she can remember, and has always loved medieval times, fairy tales and legends, and brings an attunedness to myth, symbol and archetypal fairy tale motifs in listening to the narrations of those she work with.  Originally from Minnesota, she currently lives in the San Francisco Bay Area where she practices as a psychotherapist and dream group leader. She has written several children’s books, as well as the adult nonfiction Lucid Waking: Using Dreamwork Principles to Transform Your Waking Life, which explores approaching our everyday life as a waking dream, similarly as we might work with our night dreams, to find in it the same opportunity for guidance, insight and creative possibilities.

If you have any questions or comments for Tima, please leave them in the comments. She’ll be monitoring them and will respond as she can. Hope you enjoyed hearing from her and are interested in her book.

Provoking Thought on the Character of Guinevere

"Queen Guinevere" by  James Archer [Public domain], via Wikimedia Commons

“Queen Guinevere” by James Archer [Public domain], via Wikimedia Commons

Some of you may remember a post I did a while back on “Guinevereian fiction,” i.e. Arthurian legend that’s focused on Guinevere. I came across this article from the Medievalists’ site and wanted to share in case any of you were interested. While, as you will see, there’s a lot I don’t agree with in this article, I’m happy anytime someone brings the role of Guinevere to the forefront of discussion in Arthurian legend, which is usually focused on the men.

Guinevere, the Superwoman of Contemporary Arthurian Fiction
By James Noble

(I have not read most of the books discussed, only The Mists of Avalon, Firelord and Beloved Exile. I’m purposely avoiding the others until I’m done with my own story. Noble summarizes each book, so you can make sense if his arguments even if you haven’t read the books.)

I’m all for celebrating a strong Guinevere and I agree with Noble’s assessment of the character in The Mists of Avalon. However, the use of the word “superwoman” in the article made me bristle. My first thought was the author is being pejorative in the use of the term. (Perhaps not, but that’s how it struck me.) Why, if a man raises children and rules his people, is he considered a hero, but when a woman does both (even if it is through the pen of a fiction writer), she has to be called “superwoman?” The term, to me, evokes a feeling that Guinevere is being over-characterized into something impossible, a comic book caricature, which I’m sure is not what Newman, Wooley or Miles intended in their novels.

The focus on motherhood/maternal instincts in this article doesn’t sit well with me, as that was never Guinevere’s sole function in Arthurian legend. The tradition of her being sterile or her children being stillborn is an old one (attributed in part to the need for Mordred, Arthur’s son/nephew to inherit the throne), a fact never mentioned by the author. Even in the medieval tales where Guinevere has little agency, she is more than a brood mare. She is a wife and mistress, an object of affection, if nothing else (not much better, but still). In the modern tales analyzed by Noble, she is also a queen. Why then, restrict the focus of such an essay to the traditional role of mother?

I take great offense to this statement made by Noble toward the end of the essay, “Indeed, one cannot help but wonder if it is not the mythology of the triple goddess that ultimately also gives shape to the trilogies by Newman,Woolley, and Miles, each of whom makes a point of affording her heroine a ‘maidenhood,’ a profound experience of motherhood, and what Malory would have been certain to describe as ‘a good ende’ as a wise woman.” Hello?! Putting aside the New Age triple-goddess reference, those are generally the three phases of life of any woman. Just as a man starts out as a boy, grows into a man and becomes (we hope) a wise old man, women’s lives follow the same pattern of girl, mother/adult woman (if she doesn’t have children), and wise woman. How else are you supposed to tell a life story? This is the same pattern followed in every biography (fiction or non-fiction) out there.

Perhaps he is reacting to the “happy ending” given to Guinevere in these books as a wise woman/healer. Why is it so wrong that the authors chose not to have her die young or end her life useless? That is their right. Personally, I don’t find that surprising coming from female authors who are writing for a modern audience. Part of writing stories like Guinevere’s is keeping your audience in mind, a group who I don’t think would take kindly to reading three books about a character only to have her wither away helplessly in the end.

If you can’t tell, it is attitudes like this that moved me to create my Guinevere, a 5th century Celtic woman, who like her ancestors, is a warrior, a priestess, mother, wife and many other roles. Though our historical evidence for warrior queens in the 4th and 5th century is lacking (as is almost all knowledge of that time), Celtic myth and what we know about Celtic culture gives us a solid basis on which to build the idea of a realistically strong Guinevere. This is not a “superwoman” who is in some way superhuman, but a woman of her time who used the opportunities life gave her to her advantage and prospered (or not) because of them. Guinevere is not above and beyond all womanhood; she is actually intimately accessible because she represents so much of the female experience.

So, what do you think of the article? Have you read any of the books analyzed? Do you agree or disagree with the author? Do you think I’m misinterpreting the article? (It’s always possible.) In your opinion, is it right for modern writers to try to make Guinevere into a strong woman or do you find that anachronistic? How do you think she should be portrayed?

Brittany in Arthurian Legend

Brittany is the dark blue part of the map. (Source: Wikimedia Commons)

Brittany is the dark blue part of the map.  Southern England is the gray area directly above. (Source: Wikimedia Commons)

So, I’m back to Book 3 in Guinevere’s story, and am excited to be exploring brand new terrain: the land of Brittany.

History
Today, Brittany is part of northwest France, but in Arthurian times, it was its own kingdom, though often considered a colony of Britain, peopled as it was by many former Britons, some of whom fled from the Anglo-Saxon invaders in late fourth and early fifth centuries. In some references, it’s even called “Less Britain” or “Little Britain,” and was part of a larger area known as Armorica.

Like many locations, its origins are murky. Historically, Brittany was home to five Celtic tribes in the time before the Romans conquered it: the Curiosolitae, the Namnetes, the Osismii, the Redones and the Veneti (Wikipedia has a longer explanation, if you want to learn more). Brittany became part of the Roman Empire in 56 AD. and had strong trade ties with Britain and Gaul, especially in the tin trade.

Geoffrey of Monmouth tells us that the Brittany we know from legend was founded when the Roman emperor Magnus Maximus (a historical figure who reigned from 383 – 388 AD) took his army of Britons there and crowned a man known either as Conan Meriadoc or Eudaf, depending on the source, as king. King Arthur’s grandfather, Constantine, was said to be the brother of Conan’s successor, thereby giving Arthur a relation to Brittany.

Arthurian Legend
In Arthurian legend, Brittany is most famously associated with Lancelot, Tristan, Viviane/Nimue, Merlin and to some extent, King Arthur. There are many more, but I am going to focus on these characters.

Brittany is the location of the famous Forest of Borceliande, the setting for many Arthurian stories. In some, it is the Breton equivalent of Avalon, ruled over by another Lady of the Lake. It is in this forest and by this woman that Lancelot is raised after his father Ban of Benwick (also in Brittany) dies. He gets his surname, du Lac or “of the Lake” from this upbringing. Borceliande is also where Merlin is trapped by Viviane/Nimue in the Estoire de Merlin. If you want to go visit Borceliande (I know I do, it’s next on my Arthurian list) look for the Forest of Paimpont, which is how it is currently known.

Lancelot and Guinevere riding to Joyous Gard  by N.C. Wyeth (Source: Wikimedia Commons)

Lancelot and Guinevere riding to Joyous Gard by N.C. Wyeth (Source: Wikimedia Commons)

Lancelot
In addition to being his birthplace, Brittany is also home to Lancelot’s castle and possible final resting place, Joyous Gard (or Guard), which appears in the Vulgate Cycle of Arthurian legend. This castle was first called Dolorous Guard because of a dark curse, changing to Joyous Gard when Lancelot puts an end to the evil being done there. Other traditions refute this location, saying Bamburgh Castle off the coast of Northumberland in England is the true Joyous Gard.

In some versions of Arthurian legend, Lancelot flees to Brittany with Guinevere after rescuing her from death at the stake. In other versions, she remains behind, while he flees, causing Arthur to chase him, which leaves the throne open for Mordred, which results in the battle of Camlann.

Tristan
In Gottfried’s version of Tristian’s lineage, he is Breton by virtue of his parentage: King Rivalin and Queen Blanchefleur. Even if he is not, he marries into Breton royalty when he takes Isolde of the White Hands (not to be confused with Isolde of Ireland, his first love) as his wife. He is said to live with her in Brittany until he dies of a broken heart, falsely believing Isolde of Ireland abandoned him in his hour of greatest need.

King Hoel
Brittany is also the home of King Hoel, who was a relative and ally of King Arthur, and in many traditions, also father-in-law to Tristan through his marriage to Isolde of the White Hands.

The Giant of Mont-Saint-Michel
If you’ve been around here a while, you know an Arthurian roundup wouldn’t be complete without at least one weird association. Brittany, or more specifically, Mont-Saint-Michel, was said to be besieged by giant from Spain, who had quite rudely kidnapped Lady Helena, a relative of King Hoel. Though thousands of knights tried and failed to best the giant, only King Arthur was victorious.

What do you know about Brittany from Arthurian legend? What do you want to know more about? Share your questions and I’ll try to find answers.

——-

Sources:
Arthurian Romance in Brittany
The Illustrated Encyclopedia of Arthurian Legends by Ronan Cohhlan
Encyclopedia Britannica Online: Brittany (region, France)
King Arthur and the Grail Quest by John Matthews
Knights of the Round Table (Pitkin Guide)
Wikipedia: Brittany

Guest Post by J. P. Reedman: Cups of Gold: Writing the STONE LORD Sequel

Moon LordToday I’m thrilled to welcome back J.P. Reedman for her second post here at Through the Mists of Time. (Here’s her earlier interview and my review of Stone Lord.) Her new novel, Moon Lord, is now available on Amazon. Take it away, J.P.! 

When I first began weaving tales of a Bronze Age King Arthur, I thought it might be difficult to fill a whole novel with this subject. Instead, little known, archaic versions of the legends leapt out at me from mouldering tomes, screaming to be included, and relevant archaeological  finds seemed turned up in the landscape almost daily …and so the tale grew in the telling.

And grew.

So STONE LORD became book one of a two-part series, with MOON LORD the sequel (although a standalone book in its own right). In STONE LORD, we have a young “Arthur”-Ardhu the Stone Lord, rising from obscurity under the tutelage of the shaman known as the Merlin, high priest of the temple of Khor Ghor (Stonehenge) and driving back sea-raiders seeking to steal the precious British tin. The usual Arthurian elements are  present, but in a more ancient form—The White Phantom, faithless bride but sovereignty of the Land; the Spearman, the mighty friend who betrays his lord; the Hawk of the Plain who fights the Green Man at Midwinter; the malign sister who seduces her own half-brother in revenge for status and love lost.

So what would be included in MOON LORD, how would it differ from its predecessor? Whilst the earlier part of the original legend is quite cohesive, traditionally the Arthurian myths tend to become more choppy and fragmented in the middle section of Arthur’s “reign”, with the king appearing less and less often while other knights such as Percival and Galahad come to the fore in various adventures for the glory of Camelot. It is a series of episodic tales rather than a straight narrative.

The Quest element, with its mysticism (both pagan and Christian) which is of course part of an older tradition, the Imram of the Celtic hero or saint, becomes a main area of focus, bringing with it a batch of new younger characters that replace or compete with the old… Such a shift of focus seemed appropriate for my purposes, since in the Bronze Age you were old by 30 and often dead by 40. So the setting was moved seventeen years into the future, and my first anti-hero was ‘born’– Mordraed, the King’s illegitimate son by his own half-sister, the Dark Moon who would be the foil to the ‘White Light of Arthur’ and  the destroyer of the stability and rudimentary civilisation his sire had worked to create.

Mordraed leaped out, snarling, from my imagination but he was probably the most fun to write of any character I’ve created so far—beautiful but twisted, hard and bitter and yet vulnerable, driven by ambition and by his mother and yet, underneath, struggling to understand what he feels and what he does. He came to life for me; one of those rare characters that almost wrote himself.

The Quest that I set for my ancient warriors is a prehistoric version of the Grail Quest, starting with a trip to the Wasteland of the Maimed King and finishing up in the ritual complex that grew up around Newgrange in Ireland in the early Bronze Age after the great chamber-tomb had lost much of its original function. They seek a Cup of Gold that is rumoured to be the font of all fecundity—a primitive Holy Grail which is based on mythological vessels such as the Cauldron of Cerridwen and the Cauldron of the Dagda. The appearance of the Cup itself is based on several finds from the archaeological record—the golden beakers from Rillaton and Ringlemere. The latter cup obviously had a ritual use as its bottom was curved so that it could not be set down; hence it must have been passed from hand to hand in some kind of ceremony.

In MOON LORD there is no actual magic; the prehistoric ‘Grail’ is made holy by the mythic power of our imaginations, made sacred by the power of sacrifice…and like in the original Arthurian myth, the vessel is attained by the only one of Ardhu’s company ‘pure’ enough to accept it, but there is no resulting joy, no magical turning of the hands of Fate to spare Ardhu his final doom at his ‘Camlann.’

The Cup was a symbol of hope but when hope failed it was the steadfastness and the nobility, even if primitive, of a lost heroic society that echoed down the paths of time to us, from the Dark Ages and perhaps even from an earlier time– its more admirable qualities still flickering in our consciousness like ghost-dancers in a mist.

And though the Moon has set, and the great stone monuments of the ancient world lie bleached and ruinous beneath a hard sky…

We remember.

Do you have any questions for J.P? Leave them here and she’ll answer. What do you think of her new book? I know I can’t wait to read it!