the Lord of the Rings: book three

This book is the third part of J. R. R. Tolkien's timeless classic The Lord of the Rings series. As with previous more recent posts about these books, these are ones I've read before, so please dig into my blog history through category tags or the dated archive to see my fuller thoughts and/or summaries on the themes/plots of this story - I experienced this again through the ongoing mission of YouTuber Tolkien Trash to read the whole trilogy to her audience a chapter a week, a task which I have to say she is performing excellently.

the Lord of the Rings: book two

This book by J.R.R. Tolkien is one I've read for this blog in the last few years, hence the link going back to that post - I'm re-experiencing the series in audio form read a chapter a week by the delightful Tolkien Trash, which I'm still very much enjoying. Check out her channel for some of the best Tolkien-related content YouTube has to offer.

Artemis Fowl

This book is a novel for younger readers by Eoin Colfer - the first in a very long-running series that I have no intention of reading the rest of, as I have too much else to read. That said it is a very fun book. Without wanting to spoil the story, a potted summary would be: twelve-year-old Artemis Fowl, our eponymous criminal mastermind, may have bitten off more than even he can chew after he successfully kidnaps a fairy. If I'd been aware of this series when I was within its target audience range (of probably sevenish to fourteenish) I would have absolutely devoured it - as an adult reader it still has a lot going for it, Colfer is a witty and deftly skilled writer, the characters are well-sketched and interesting, the worldbuilding is colourful and original, and the plot ticks along at a very consistently exciting pace. Highly recommended for children who like a bit more of a wry, punchy tone to their fantasy.

the Lord of the Rings: book one

This book (which I've read before recently, hence that link simply going to my earlier post about it) I've been re-experiencing in audio form, thanks to YouTuber Tolkien Trash, who is committed to the admirable & entertaining work of reading out the whole trilogy a chapter a week on live-stream. You can check out her back-catalogue here if you want to listen along with me and her other followers. She has a soothing yet stimulating voice for reading & the occasional asides to the chat (or just because she's laughing about something in the text) add a funny level of intimate performativity to the streams.

the Island of the Immortals

This short story (available from that link online) by Ursula K. Le Guin goes hard. In it, a traveller visits an island where, it is claimed, there are immortal people living after thousands of years of uninterrupted life. Only immortality might not be all it's cracked up to be - simply not dying doesn't guarantee anything about bodily integrity or quality of life. I won't spoil it - just go and read the thing, it's pretty short, and is a startling and disturbing angle on the theme.

the Book of Merlyn

This book is the final instalment of T.H. White's The Once and Future King series - it was published much later than the rest, because, you know, World War Two provided a bit of an interruption to smoothness on the deadline front. As you remember we last left Arthur mulling over the failure of his life's efforts in his tent outside the siege of Mordred's castle; we re-enter the scene exactly where we left off, and *surprise* - the unknown person entering is in fact his old tutor Merlyn, back from a conspicuous long absence with Nimue, and keenly reintroducing himself to Arthur's life to prod the old King back into liveliness and hopefulness with a continuation of his adolescent education. So, on the eve of battle, Arthur follows Merlyn away to an underground room where many of the animals he met when he was turned into their kind are present to offer wisdom, fellowship, encouragement and insight. The passages from the first book in which Arthur is turned into an ant and a goose* are included in this book too, because of editorial changes made during the complicated publication timeline, but here these parts are couched in a much more philosophical and less comic context. Merlyn is very deliberately trying to educate Arthur in the nature of political power, freedom, conformity, authority and whatnot. As such, much of this book consists of rambling speculative dialogue about the nature of these concepts, how well they can be realised in human society, whether there can ever truly be a "cure" for war and violence, etc. It's a very thought-provoking sequence in which Arthur's experience and Merlyn's wise insight play into each other perfectly. (Not sure where else to mention this but it's niggling at me - in this book White fully breaks the fourth wall at a couple of points, obviously via Merlyn, which I found very entertainingly in-character.) Finally, Arthur accepts his fate and his legacy, and returns to the battlefield, where he later offers Mordred a truce in exchange for half his kingdom. The book closes with a series of loose sketches about the ultimate fates of Arthur, Guinevere and Lancelot.

   So, that's The Once and Future King! Five books in one! Plus the five-in-one volume that I've been linking these posts to includes an afterword by Sylvia Townsend Warner about the fraught publication history of this series by way of explanation as to why this final book was so late that it was actually posthumous to the author. But anyway, here we go with some reflections.

   On the whole, I really enjoyed this series. I've never myself read Malory's Morte d'Arthur so I can't speak to how well this series expresses the style (I'd be surprised) or themes (perhaps I wouldn't) of the work which inspired it, but the general vibe of medieval romance is captured to wondrous heights in these novels while still being believable and inventive - I think anyone with any fondness for the Arthurian mythos** will find a lot to recognise as well as a lot to be pleasantly surprised by in them. While magic only really plays a substantive role in the first book when Arthur is being transformed into animals (and also a little bit in the second book, because of Morgan le Fay and the Questing Beast - as well as in this, the final book for the same reasons as the first) I have classified all five as fantasy novels because the Arthurian mythos kind of has that as part of its cultural identity - this is far from historical fiction. Which - on that note, one thing that did irk me throughout was the errant nature of the past setting; if Arthur was a real historical figure, he lived in the sixth century CE, whereas these stories are set vaguely between the twelfth and fourteenth. I can forgive that though as Arthur in the mythic form is an essentially timeless character and it was during that pre-Renaissance time period that romances of his life and knights etc were doing the round of England and France the most thoroughly. What added to this temporal irk was the numerous anachronisms of both Merlyn and the omniscient narration - I know with Merlyn this is explained by his "living through history backwards" (a quirk that I really kind of dislike, as it just doesn't make narrative sense, and only exists so that the wizard can quickly reference later historical events rather than having to concisely describe sets of circumstances) and with narration it's explained by the fact that this was, of course, written in the 20th century with access to a whole heap of knowledge and realities that were future-alien to the characters in the story, but in both cases these did take me out of the immersion somewhat. Having said that, I really like the writing style - White slips idiosyncratically between medieval knightly court-speak and dialect-heavy realistic speech in his dialogue, while the third-person narration is consistently direct, sure of itself, and largely sympathetic. If there is one final closing gripe I'd have with these books, it's that Arthur and Merlyn aren't in them enough, especially the second and third instalments. But Lancelot and the other knights (and King Pellinore - what a brilliant character) are thoroughly enjoyable in their own right, so I won't decry this too much. Overall a great series.

   I know I mentioned in my first post that I was reading this series as inspiration-fodder for a series of novels about Arthur and Merlin that I'm working on myself - and to be honest I didn't get a huge amount out of them for that end. I certainly got a few sharp realisations of things that I definitely did or didn't want to happen to Arthur, and ways of being that I definitely did or didn't want Merlin to embody, but overall I think the setting and trajectory of my own Arthurian stories is different enough to White's that I can just be grateful for having read and loved an intriguing original take on the mythos without having to kowtow to it much in my own work.

* Albeit in this re-inclusion the goose chapters go on a bit further - there's even a tragicomic subplot in which Arthur falls in love with a female goose, only to be yanked back to humanity by Merlyn just as this is realised.

** I will freely admit that before reading these my only exposure to it was through the old film Excalibur, the BBC series Merlin, the Netflix series about Nimue called Cursed, and the early 2000's cartoon King Arthur's Disasters. Not necessarily in that order either chronologically or in terms of impact.

the Candle in the Wind

This book is the fourth in T.H. White's The Once and Future King series. And boy, here is where the drama really kicks off. Knights of the Round Table Agravaine and Mordred are stewing in their bitter grudges against Lancelot and Arthur respectively, and hatch a plot to bring down the reputations of these two most chivalrous of men by exposing Lancelot's love affair with Guinevere - they kind of vaguely succeed, and the kingdom is thrown into civil war as knights of the realm as well as other regional rulers from around the country piecemeal take sides. Arthur is utterly dismayed as his ideals of righteousness and chivalry are trampled upon and shown to be worthless in the face of genuine unrest, and the Round Table falls apart. The novel ends with the King alone in his tent outside the siege of Mordred's fort, wallowing in regretful what-iffery, until right at the end he is stirred by an unknown figure entering his tent - he assumes, Mordred, come to kill him. But we have to wait for the next book to find out.

the Ill-Made Knight

This book is the third in T.H. White's The Once and Future King series. Again, Arthur and Merlyn are hardly featured - instead we follow perhaps the third-most famous character from the mythos - that being the inimitable Sir Lancelot, as he attains knighthood, gains renown, wins a ton of tournaments and jousts, partakes in the Round Table (which is by now well-established) and its quixotic quest to find the Holy Grail, and falls, ill-fatedly, in love with Queen Guinevere. Despite being the longest instalment in the series perhaps the least of overall plot import happens in this one - it's a lot of fun nonethless.

the Witch in the Wood

This book is the second of T.H. White's The Once and Future King series. Arthur and Merlyn are barely in this one - instead, we largely follow two ongoing largely comic threads: in one, the errant King Pellinore continues to search for the Questing Beast; in the other, Arthur's nephews (Agravaine, Gawaine, Gaheris and Gareth) jostle for status as they await adulthood. Meanwhile, in the background, the King is working on plans to establish some means of promoting chivalry and righteousness throughout the land, by way of an egalitarian ideal embodied in the Round Table. to which he starts calling chivalrous and righteous knights to promote his ethic. The eponymous "witch in the wood" is Morgan le Fay, who shows up briefly - also, right at the end, Arthur's half-sister Morgause seduces him by way of nefarious magics to conceive with him an incest-baby who will grow up to the be prophetically-ominous/tragic Mordred.

the Sword in the Stone

This book is the first in T.H. White's The Once and Future King series - a modern retelling of the Arthurian mythos loosely based on Thomas Malory's Morte d'Arthur. I'm planning to blitz through all five books in the next week or so because I'm actually working on a series of novels involving King Arthur and this looks like great inspiration-fodder. As usual for a series, I will be restricting these posts to brief outlines of story for each post up until the final book where I will then finally offer some deeper reflections on the series as a whole.

   Anyway - in this book we are introduced to a kid nicknamed "the Wart", who is growing up in a medieval castle, undergoing rigorous diverse education in matters intellectual and military, and is bottom of his social pecking order. Then the Wart meets a mad-seeming old man called Merlyn, who rips himself away from his hermit-life to become Wart's tutor - only these new kinds of lessons are education of a completely different style to what might have been expected. Merlyn's lessons comprise partly of lectures in the need for and difficulties of getting people to live morally, and partly of turning Wart into various animals* to see how they experience life. After a few years of this, we learn that the realm is in political turmoil due to the lack of a clear successor for king, but there is a rumour abroad that whoever can pull a mysterious sword out of a stone will be divinely bestowed with such rights. Anyone who knows the story can guess who manages to pull it out - and thus, Wart's derogatory nickname is left in the dust, and a young King Arthur starts to assume his life's work.

* Including a fish, a hawk, an owl, an ant, a goose, and a beaver - the implication is that there were probably many more such lessons that didn't get covered in the book itself. The ant and goose chapters are particularly genius feats of natural imagination.

Tales of Earthsea

This book by Ursula K. Le Guin is the fifth in the Earthsea series, so it technically comes before The Other Wind, but I've already read and blogged that one, so this post culminates the series and therefore I'll be making my reflections here.

   This book comprises five short stories and an essay - I will deal with each in turn.

• First up we have The Finder, in which a young sorcerer called Medra (also known as Otter or Tern at points in his life) grows in power and wisdom and ends up founding the wizard school on Roke. This longish short story is a brilliant view into the dim hazy past of the world Le Guin has created, and lends a potent depth to the reader's understanding of the interrelations between magic and wisdom necessary to be a good wizard.
• Next is Darkrose and Diamond, in which a young sorcerer called Diamond falls in love with a young witch called Rose, and forgoes life as a wizard to pursue this romance. This is a delicate, lovely little story.
• Then we move onto The Bones of the Earth, in which a young Ogion (the sorcerer who initially trained Ged in the first book) teams up with his tutor in the hope of preventing a catastrophic earthquake. Strong themes of trust and humility.
• Next we have On the High Marsh, in which we are treated to a glimpse of Ged at the height of his career as Archmage - only he isn't doing grand world-saving stuff, he's on a remote island curing cattle. Again, strong themes of humility, as well as kindness, and power.
• Finally, Dragonfly - in which Irian (who you may remember from the sixth book) visits the school of wizards on Roke to provocatively question the masters of magic why such learning is forbidden to women and girls. This story provides a perfect stepping stone into the final book in the series.

   Finally, the essay at the end of the book goes into elucidatory detail about the peoples, languages, history and magic system of Earthsea - for me it didn't really add a huge amount of insight into the books, as I've read all six so closely together and so had much of the lore in my medium-term memory pretty well already, but for people reading the books more spaced out it would be a really helpful appendix. Not to mention it simply shows a masterclass in thoughtful worldbuilding, much like Tolkien's appendices.

   All five stories in the book are moving, thought-provoking, immersive, deceptively simple, and immaculately well-written. If you have read any of the other Earthsea books and enjoyed them this is an addition you can't leave out - in fact, just read the whole series. Speaking of the six as a whole, I think anyone who appreciates good fantasy will absolutely love them - I do in actual fact think these books seriously rival The Lord of the Rings as my favourite fantasy literature now, though it's hard to compare as the writing styles are so different and thematically and in scope the works are trying to achieve very different things. Good job I don't have to pick favourites on this blog.

   I said I'd be making reflections on the series as a whole - the fact is I don't have much to say. I just loved the experience of reading these superb stories, and know I will definitely be revisiting them for a re-read in the future, probably many times. The characters are well-drawn enough to be believable and lovable or hateable as the plot intends and each realised with psychological complexities of their own; the themes are deep to the point of profundity and are perfectly entwined and expressed through character and plot; the world is obviously immensely well-developed and lived-in; and the overall story arc across these six books is hugely satisfying while never feeling like an ultimate solution - the story ends on a note of potential and promise rather than a statically final resolution. If J.R.R. Tolkien can make you dream wistfully of being a hobbit, Ursula K. Le Guin will show you dizzying visions of being a dragon.

the Other Wind

This book is the sixth and last in Ursula K. Le Guin's Earthsea series (and yes, I know, I've skipped the fifth one, Tales of Earthsea, but I don't have it yet - it's ordered and will be lumped up on here once I've read it, but my reflections on the series as a whole will be reserved for that one). In this instalment we follow Alder, a young sorcerer of mending from the island of Taon, who keeps having dreams in which his dead wife reaches out to him from the realms of those who have passed over the wall on the hill which separates the living from the not. He is drawn to Gont to question the ex-Archmage Ged about this, but Ged, now powerless but still wise, shunts Alder off to the capital island Havnor to consult with Tenar and Tehanu, who are over there to visit the recently installed king Lebannen (aka Arren from the third one). Tenar and Tehanu, as well as a number of other wizards from Roke who happened to be on Havnor at the time, and in short order also a dragon who can take the form of a woman called Irian, all find Alder's plight deeply troubling, the experienced mages taking it as a sign of a worsening in the balance that Ged had tried so hard fifteen years earlier to heal. Taking along with them a princess from the Kargad Lands who has been sent as a gifted bride to Lebannen, all concerned persons make their way to Roke, to hold council between humans and dragons in the Immanent Grove, a magical forest that forms the spiritual and arguably literal centre of all Earthsea, in the hope that they may find in their shared wisdom some way of restoring rest and reincarnation to the dead that the living may rest and live in hope and ease. I hope that it goes without saying that this perfunctory plot summary of mine by no means spoils the story, as the magic is in the fabric of the telling. But reflections further than that will have to wait for my post about the fifth book which I've accidentally skipped. So stick around.

Tehanu

This book is the fourth Earthsea novel by Ursula K. Le Guin, and I honestly was not prepared for how much of a sharp turn this one took. The first three had all been fairly standard-fare fantasy adventure mystery stories; this is more of a domestic drama, set entirely on Ged's home island Gont. We follow Tenar (who since escaping Atuan now goes by her original name), now a middle-aged woman, and Therru, a young girl who has survived horrific childhood abuse, as the pair simply try to live life on the land. Ged arrives home on the back of a dragon named Kalessin about a quarter of the way through, and this complicates matters for Tenar and her care of Therru, but Ged is stripped of his magic and simply wishes to hide and recuperate. I hope it doesn't sound like a complaint but very little of import happens in the majority of this novel; it is simply the story of Tenar struggling to raise a complex and hurt child in a land that she knows well but is ultimately foreign to her. Then it all kicks off in the last ten pages, but I won't spoil that - except to drop the tantalising hint that Therru comes to learn her true name in epic fashion.

the Farthest Shore

This book is the third of Ursula K. Le Guin's Earthsea series. We follow Arren, a young man of noble birth from the island Enlad, who has been sent to the Masters of Roke with unsettling news: magic seems to be failing. First from the far reaches of the western isles and increasingly closer to home, mages are forgetting their words and acts of power, and things long-depended-on for the sustaining of common livelihood are passing out of being. The Archmage Ged opts to accompany Arren on a hunch-led and eventful journey to the far south and eventually the far west (as far as Selidor, the eponymous island of dragons) to see if they can unravel this grim mystery. They do discover ultimately that it is the work of an errant wizard who has tried to break down the walls between the realms of the living and the dead, and thus severely harmed the balance; Ged has to expend the fullness of his power to reseal the breach in the world. That may be something of a spoiler but it's the way this story is told that really lends it its magic, so you can't decry me for that. Anyway, I am reading my way through this whole series but reserving my deeper thoughts and critiques for the final post, so keep watching this space.

the Tombs of Atuan

This book is the second of Ursula K. Le Guin's Earthsea series (see, told you I was going through all of them). In it we are introduced to Tenar, a young girl on the island Atuan, where at an early age she is decided to be the reincarnation of the First Priestess of the Namesless Ones (mysterious primordial powers of death and darkness, chaos and madness) and hence renamed Arha, "the Eaten One". She is raised to full knowledge of the tomb complex around which her habitation community is built, including the depths and complexities of the Labyrinth beneath it. Then one day she sees a strange foreign man in the caverns, who gives his name as Sparrowhawk (spoiler alert - it's Ged, now Archmage of Roke, and on a quest of his own). Without giving too much away the pair help each other find (in both a mystical personal and literal directional sense) their way out of the tomb complexes of Atuan, and onward to hopefully brighter futures. Stay tuned for the post on the next one as we are now entering territory of Earthsea books that I haven't read yet.

A Wizard of Earthsea

This book (which I've read before on this blog so the link there goes to my original post about it - this time though I'm determined to get through the whole series) is the first in Ursula K. Le Guin's seminal fantasy series set in the world of Earthsea.

   We are initially introduced to Duny, a goatherd child on the island of Gont, who proves to have some knack for the magical arts. When he comes of age he is given his true name, Ged, by the local wizard Ogion, and tutored by him for a time; though when his powers prove too great for Ogion to teach satisfactorily Ged is sent to the School of Wizards on the island of Roke. However, ambition and teen angst conspire together and in an attempt to show off Ged accidentally summons a nameless being from the dark realms. The rest of the story is of Ged's efforts to escape, then finally confront, this being.

   I will say nothing of the solution to the plot for want of not spoiling an incredible story; nor will I here divulge my thoughts on the book as a whole, as I stated I fully intend to read the whole series and so will save those reflections for the last post. Stay tuned.

On Fairy-Stories

This book (available free online from that link) is a long essay, well - originally lecture, by J.R.R. Tolkien, regarding the fairy story and fantastical fiction in general. It is widely known as a key touchstone for thinkers in and around the genre on how to do it well, and as I am currently working on my own series of fantasy novels (as well as being generally interested in how the father of the modern genre approached it) I thought it would be well worth a read* - and I was not disappointed. Tolkien begins with a broad attempt to define the fairy story, before delving into the historical and cultural origins of the genre; he then considers the stereotypical association of the fairy story as being intended for and only enjoyable by children (a proposition he roundly rejects) and then goes on to develop a definitional theory of what precisely "fantasy" is - this is the meatiest part of the whole essay - as being a genre that should ideally provide recovery, escape, and consolation (it is in this part that he coins the term "eucatastrophe" to describe the inexplicable, unpredictable, yet inevitable happy ending of all true fairy stories***), and finally concluding with a statement about art's essential nature to human flourishing under God in consideration of our relationship to truth and imagination. This is a deeply stimulating essay, and whether you're active in writing fantasy yourself or you're simply an enjoyer of the genre who wants to take a thorough stare at the nuts and bolts of what makes it so vibrant and long-enduring as a form of human expression, you will find a great deal of food for thought here. Well worth a read - especially if you're a fan of Tolkien's fictional works, as this essentially provides the manifesto statement of how he approached all of his writings of the fantastical ilk.

* Although if you're interested in the ideas talked about in this post but don't have the attention span to read a forty-page essay,** assuming you still have the attention span to watch a forty-minute video essay, Jess of the Shire has you covered.

** In which case, what the heck are you doing on this blog?

*** Key example in point - at the culmination of The Lord of the Rings (spoiler alert), the ring is destroyed not by intent but by accident: Frodo caves to its power at the very last step of his journey, and Middle-earth is saved only by Gollum slipping into the lava having bitten off poor Mr. Baggins's finger to reclaim his precious. Textbook eucatastrophe.

the Dragon in the Library

This book by Louie Stowell is the first in a series of three novels following a ten-year old tomboy called Kit Spencer who gets peer-pressured into going to the library with her friends Josh and Alita, only to stumble upon magical secrets (of the variety that you can probably guess from the title) and commence training with head librarian Faith, who is also a wizard. Beyond that I won't spoil the plot, other than that the Evil Businessman Bad Guy is a very entertainingly Dahlesque villain. The prose is sharp and accessible, the story is well-paced and exciting, the arcane lore is actually quite well-explained and internally consistent, and the illustrations by Davide Ortu are pretty delightful and add a lot of character.

   Overall this is a cracking little children's novel - I bought it as a fifth-birthday present for my niece and pre-read it to make sure it was appropriate, but I reckon this would go down a bomb with any imaginative kids between the ages of five and nine or so. Would recommend.

Sourcery

This book is, it should need no introduction - one of the inimitable Terry Pratchett's Discworld novels. And in this one the incompetent wizard Rincewind finds himself caught in a baffling and threateningly-apocalyptic scenario, as a new Sourcerer has turned up at the Unseen University and had turned the whole culture of magic on its head and inside out. It is up to our plucky hero to muddle his way through this without being turned into a piece of bellybutton-fluff or something - which could very easily have happened, given everything else that seems to be going on. I've read a fair few Discworld novels but this is the maddest so far. And if you have half an idea what goes on in a normal one that should shock you. I'm not reading them in order, mind you. But I am trying to read all of them, given enough time, and luck in charity shops. That said, Rincewind is always a brilliantly entertaining protagonist for the comic fuel of Pratchett's imagination, and this instalment in the ongoing exploration of Discworld is no exception: hilarious, mind-boggling, slightly scary, thought-provoking, all at the same time. There are no other authors who can do what Pratchett does. I would say read this, but really just flop open a page of all the Discworld novels that exist and stick your finger down at random and start there, and then repeat until you've read them all. That's more or less what I'm doing, and it seems to be fun enough.

The Cloven

This book is the third and final instalment in Brian Catling's utterly phenomenal series of novels, preceded by The Vorrh and The Erstwhile; and oh man was this trilogy worth sticking with, no matter how bogged down and lost I felt at times wading through its depths.

   Characters collide. Plot threads intertwine. Answers are unwrapped and mysteries implode back into the dark heart of the forest from whence they came. Angels go mad and back again. Humans find themselves thrust up against their closest relatives and hate what they see. War begins to raise its ugly head, and colonialists and locals alike begin to panic, to plan, and in some cases to abandon ship altogether and leave chaos behind. Nothing will be the same again - except the Vorrh itself, though even that will take time to rest and recover. But you, dear reader? You certainly won't be the same again.

   Having finished the trilogy I am now probably about 60-70% certain that I could tell you maybe half of what definitely happened in these books. But I don't care. These are not novels you read for surety, for comfortable solidity or easy solutions to the riddles posed. This is a trilogy that makes you feel like you are wandering through the Vorrh, slowly losing your mind at exactly the same time that your instincts are sharpening and your ancestral memory deepening. To say that this is a well-written trio of magical novels would be like saying that The Godfather series is a well-directed trio of mobster films. I have never read anything like this and I doubt I will again. These books made me laugh maybe once or twice per instalment, brought me to the verge of tears two or three times per instalment, but kept me in a state of suspended anxious confusion and tension for at least three-quarters of the whole length of each. They just don't let up, but they never tread the same ground twice either. I honestly think these may be some of the best fiction I've ever had the privilege of reading for their sheer immersive quality. Read these if you want an itchy mind.