by Mike Ashley
Housman, Clemence (1861–1955), The Life of Sir Aglovale de Galis (UK, 1905; slightly revised, UK, 1954; US, 2000) (m)
The story of the oft-neglected Sir Aglovale, brother of Lamorak and Percivale. Housman was a feminist and suffragette and came from a noted literary family; her brothers were the poets A.E. and Laurence. She uses Sir Aglovale as the vehicle for her own views on a suppressive class-riddled society which was at its worst in Edwardian England. Edith Pargeter singled out the novel as “by far the finest work on an Arthurian theme since Malory”.
Hunter, Jim (b. 1939), Percival and the Presence of God (UK, 1978, US, 1997) (m)
A clever reworking of the traditional story of Percival in which he undertakes a quest not only to rediscover the Grail Castle and correct his error over the unasked question, but also to find Arthur’s court, which he believes may be a myth. By this simple twist Hunter creates a strikingly original work which is both a mystical allegory and a quest for self-fulfilment. Arthurian expert Raymond H. Thompson called it “unique” in Arthurian fiction for being a Christian existential novel.
James, Cary, King & Raven (US, 1995) (m)
A vivid and violent portrayal of murder and revenge at Camelot. Micah is a local peasant boy who witnesses the rape and murder of his sister by four of Arthur’s knights. He seeks justice from Arthur but gets none and has to flee England or be killed himself by the knights. He returns years later from France as Sir Michel de Verdeur, but revenge is no easier and he becomes part of the downfall of Camelot.
James, John, Men Went to Catraeth (UK, 1969) (h)
A recreation of the battle of Catraeth as per The Gododdin with Aneirin as the leader of the Romano-British troops.
Johnson, Barbara Ferry, Lionors (US, 1975) (m)
The story of the young woman who fell in love with Arthur before he married Guinevere and bore him a child, in this case a blind daughter (in Malory it was the future knight Sir Borre).
Jones, Courtway (b.1923), In the Shadow of the Oak King (US, 1991), The Witch of the North (US, 1992), A Prince in Camelot (US, 1995), known collectively as the Dragon’s Heirs trilogy (m).
An attempt to transpose a fairly faithful interpretation of Malory’s story to fifth century Britain. The result is a strange anachronistic mixture of Celtic and Norman-French names and some unusual identities for individuals. Pelleas, for instance, who recounts events in the first volume, is the illegitimate son of Uther and Brusen, sister of the King of the Picts. Guenevere is the daughter of Rowena and Vortigern. The second volume is told by Morgan le Fay and the third by Mordred. Despite certain anomalies and inconsistencies there are some vivid portrayals of the different cultures across Britain and how they contributed to both the rise and fall of Arthur.
Jones, Mary J., Avalon (US, 1991) (m)
Labelled as a lesbian Arthurian romance, this is the story of Argante, the child of Gwenhafyr and either Arthur or Lancelot, who has to be rescued from Arthur’s wrath and grows up in Avalon, along with other women who seek refuge there, presided over by the Lady of the Lake. Projected as the first of three volumes.
Kane, Gil and Jakes, John, Excalibur! (US, 1980) (m)
Although this book runs to 500 pages, that still seems insufficient to cover all of Arthur’s life and to allow for character and setting. As a result it feels fast-paced, yet it is controlled and succeeds where others fail at three times the length. There are a few changes, with the emphasis on Guinevere’s relationship with Lancelot, which develops before her marriage to Arthur and this simmers its way through much of the book. One of the few novels to feature Amlawdd.
Karr, Phyllis Ann (b.1944) The Idylls of the Queen (US, 1982) (m)
Karr is known for her dedication to the Arthurian tale and has compiled the indispensable The Arthurian Companion (1983; revised, 2001). In Idylls she treats the poisoning of Sir Patrise as a murder mystery investigated by Sir Kay in order to clear Guinevere. In more humorous vein is The Follies of Sir Harald (US, 2001), in which the accident-prone and villainous Sir Harald encounters one problem after another when trying to get himself out of trouble.
Keith, Chester, Queen’s Knight (UK, 1920) (m)
Develops the standard love story between Lancelot and Guenever, who have been lovers for many years. Morgan convinces Mordred that he is the true “Pendragon” and that he should take the throne for the good of the knights, who have become lethargic and indifferent to sin. After Mordred’s coup, she plans to replace him with her only son Uwaine. When her plot fails, she kills herself. Keith was the pseudonym of Imogen Woodruffe Kemp (information courtesy of Larry Mendelsberg and James Lowder).
Kemp, Debra A., The Firebrand (US, 2003) (m)
The first volume in a projected series, The House of Pendragon. Set after the battle of Camlann it features Arthur’s daughter Lin who goes into exile with Gaheris, one of the few surviving Knights of the Round Table. She and Gaheris marry and have a child called Arthur, to whom she begins to tell her story of how she was a slave in Mordred’s household.
King, J. Robert, Mad Merlin (US, 2000), Lancelot du Lethe (US, 2001), Le Morte d’Avalon (US, 2003) (m)
Another trilogy that attempts to bring new twists to the standard story. Merlin is the main motivator in the first volume, but he has lost his identity and discovers that his fate is linked to that of the as-yet-unborn Arthur. The second volume explores Lancelot’s traditional role whilst the final and strongest volume depicts Morgan le Fay’s revenge upon Arthur for the death of her father.
Kleidon, Mitzi, Rexcalibur and Eternity’s Hope (both US 2001) (f).
Of minor Arthurian interest but an original idea. Camelot’s life essence was fed by a magic orchid maintained by Morgan but after Arthur’s death she consigned the orchid to a distant place. Camelot is now a waste land and the new king waits for the descendants of the Round Table to find Camelot so that they can set out on the quest for the magic orchid.
Lawhead, Stephen (b. 1950), Taliesin (US, 1987), Merlin (US, 1988), Arthur (US, 1989), Pendragon (US, 1994), Grail (US, 1997)
The first three books were the original Pendragon Cycle. Reworking the origins of the Grail story and earlier Celtic legends, Lawhead creates a new Christian myth. Avallach is the last king of lost Atlantis who has escaped the destruction of his land and settled in Britain, at Glastonbury. Avallach becomes the Fisher King and his daughter Charis the Lady of the Lake. She weds Taliesin and their son is Merlin. Merlin begins in the reign of Magnus Maximus and follows roughly the traditional story through to the birth of Arthur. The third volume is divided into three sections. The first, from the Sword in the Stone to the acquisition of Caledvwlch, is recounted by Pelleas, Prince of Llyonesse. The second, which follows Arthur’s battle campaign, is told by Bedwyr. The final part, entitled “Aneirin”, about Arthur’s final days after Badon (here Baedun in Scotland), is told by Gildas. Though the Atlantis angle is alien to the original legend, Lawhead skilfully blends it with Celtic tradition to create one of the more convincing modern Arthurian novels. He has since added two more novels. Pendragon fits between sections 2 and 3 of Arthur and tells of further battle campaigns, especially the “forgotten war” against the Vandals. Grail weaves together the Grail Quest and the relationship between Gwenhwyvar and Llenlleawg. A sixth volume, Avalon (US, 2001), is set in the future with a possible return of Arthur to a corrupt Britain.
Lees, Frederick, The Arthuriad of Catumandus (UK, 1996) (h)
Catumandus is a Briton (we later learn he is one of Arthur’s illegitimate sons) who is sent by the Byzantine Emperor Anastasius as an envoy to Britain, so we read something of a travelogue across Europe before he reaches Arthur’s court. En route he meets Myrddin in Rome. Catumandus remains long enough in Britain to witness Arthur’s downfall. All the usual characters appear and the story benefits from providing an outsider’s view.
Lehmann, Ruth Preston (1912–2000), Blessed Bastard (US, 1997) (m)
An academic renowned for her knowledge of medieval Irish and Anglo-Saxon cultures, Lehm
ann has explored the character of Galahad, and how he might have been had he lived at the time of the historical Arthur. The book is as much psychological and spiritual as it is historical and provides some interesting twentieth-century insights on poor parenting.
Lindsay, Philip (1906–1958), The Little Wench (UK, 1935) (m)
Lindsay had set out to explore how love was the downfall of Arthur’s kingdom. In his informative “Dedication”, Lindsay tells us that he had planned to include much more, including elements of the Tristan and Iseult story, but instead he concentrated on Lancelot and Guinevere (the “little wench” of the title). The book is consciously set in the twelfth century and is a rich tapestry of the Arthurian court. It follows Malory with only minor changes and concludes with Lancelot and Guinevere’s final meeting after Camlann. One of the best “modern” Arthurian romances.
McCaffrey, Anne, Black Horses for the King (US, 1996) (h)
Set in the years just before the first of Arthur’s battles when a young Romano-Briton, Galwyn, flees from his uncle and joins the army of Lord Artos. McCaffrey used to breed horses in Ireland and the emphasis is on the role of the cavalry in Arthur’s success.
McCormack, Patrick, The Last Companion (UK, 1997), The White Phantom (UK, 2000), The Lame Dancer (UK, due 2007), in the series “Albion” (h)
Set ten years after Camlann and narrated by one of the last survivors, Bedwyr, now called Budoc. In the first volume Budoc and a few companions try and keep safe the magic chalice, whilst in the second Budoc goes in search of Gwenhyfar. In the final volume, McCormack brings the Celtic and Saxon threads together in the conflict between Bedwyr and Cerdic. McCormack is brutally realistic about the period, at times almost too dark, developing a brooding atmosphere of gloom and despair, but with convincing historical detail.
McDowell, Ian (b.1958), Mordred’s Curse (US, 1996), Merlin’s Gift (US, 1997) (h)
Arthur’s story through the embittered eyes of Mordred from the time he was first aware of Arthur as his uncle, when he glorified him, through his hatred for him and the final battle. Apart from Gawain no one is drawn in a good light, though Mordred obviously perceives himself in a better light than others. Merlin is psychotic, Guinevere deceitful (she becomes Mordred’s lover), Arthur overly pious and a better leader than a warrior. Powerfully written, but not for those who like their heroes unsullied.
McKenzie, Nancy, The Child Queen (US, 1994), The High Queen (US, 1995), both combined as Queen of Camelot (US, 2002) (h)
Inspired by Mary Stewart’s work, McKenzie wanted to rediscover Guinevere in her true fifth century setting. It tells her life from childhood. The first book follows the traditional story of her love for Lancelot. The second book is more original. Realizing that she is barren Guinevere does what she can to raise Mordred, though with the same consequences as in the story we all know – Mordred rebels against his father. The characters are well drawn if somewhat idealized. The story ends with Guinevere’s hope in Galahad. His story is told in Grail Prince (US, 2002), in which he determines to find the ancient treasures that will restore Britain to health, a quest he undertakes with Percival.
McKenzie, Nancy, Prince of Dreams (US, 2003) (h)
This retells the story of Tristan and Essylte, set in the years after Arthur’s death when Merkion has become the High King.
Mallory, James, The Old Magic (US, 1999), The King’s Wizard (US, 1999), The End of Magic (US, 2000) (m)
Based on the TV mini-series (see here).
Marshall, Edison (1894–1967), The Pagan King (US, 1959) (h)
Told by Arthur himself, who creates his own legend. Born Ambrosius, Arthur discovers that his father is Vortigern and that Modred is his half-brother, the real heir to the throne. In his youth Arthur sets off in travels across the wild countryside, which turns out to be a journey of both external and internal discovery till, as the victor of Badon, he becomes first King of Cambria and subsequently High King. But he later abdicates and journeys as a bard. He reconciles himself with Modred who is seen here as honourable. Despite, or because of, his significant changes to the traditional story, Marshall creates a convincing if melancholic tale.
Massie, Allan (b.1938), Arthur the King (UK, 2003)
The second volume in what purports to be a lost history by the thirteenth century mage Michael Scott. The first, The Evening of the World (UK, 2001), has the Roman Marcus wandering across Europe during the days of the barbarian invasions, eventually reaching Britain. This second volume is surprisingly conventional, though the emphasis is placed on the machinations of Merlin and Morgan. It ends with Arthur’s death.
Meaney, Dee Morrison, Iseult: Dreams That are Done (US, 1985) (m)
A retelling of the traditional story but from Iseult’s viewpoint. Noble and idealistic, the lovers agree that, rather than hurt Mark, Tristan should go.
Middleton, Haydn (b.1955), The King’s Evil (UK, 1995), The Queen’s Captive (UK, 1996), The Knight’s Vengeance (UK, 1997) known collectively as the Mordred Cycle (h)
Middleton’s work is known for his ability to weave together reality and myth until they become indistinguishable and the Mordred Cycle is no exception. Here history becomes myth and vice versa, to the point where neither the reader nor the main characters can be totally sure of reality. Here, Arthur is murdered by Mordred at the end of the first book in revenge for having cast him (and all the other babies) adrift. Mordred returns to the sea and is rescued by Morgan, and their child is the new Arthur who will restore Logres. The third book tells some of the Arthurian story as we know it, but it is Mordred who is the eventual saviour. In turning the legend on its head, Middleton imbues it with a new meaning though one that he makes hard to swallow because it is couched in disturbing visions and language.
Miles, Rosalind (b.1943), Guenevere: Queen of the Summer Country (UK, 1999), The Knight of the Sacred Lake (UK, 2000), The Child of the Holy Grail (UK, 2001) (m)
The traditional Arthurian story told primarily from Guenevere’s viewpoint. She is shown as a strong queen in her own right and the uniting of her lands with Arthur’s brings about a powerful kingdom. Miles, known for her books set in the Elizabethan period, brings that same scheming Tudor mindset to develop various plots and counterplots by Guenevere, Merlin, Morgan, Agravain (who for once has a strong role) and Mordred, both in terms of personal gain and religious conflict, which gives the trilogy a recognisable reality.
Miles, Rosalind (b.1943), Isolde, Queen of the Western Isle (UK, 2002), The Maid of the White Hands (UK, 2003), The Lady of the Sea (UK, 2004) (h)
This trilogy explores the Tristan story and has arguably the strongest depiction of both Isolde and her Breton namesake in any modern treatment. Once again Miles brings her Elizabethan understanding to allow a deeper and less sentimental interpretation of this legend than usual.
Mitchison, Naomi (1897–1999), To the Chapel Perilous (UK, 1955) (m)
An Arthurian parody which retells the key events as if reported by newspaper journalists of the day. Mitchison uses the Arthurian motifs to satirize the growing popular journalism of the 1950s, but in so doing offers new insights on how the Arthurian story is perceived and can be interpreted.
Monaco, Richard (b.1940), Parsival or a Knight’s Tale (US, 1977), The Grail War (US, 1979), The Final Quest (US, 1980), Blood and Dreams (US, 1985) (m)
The Grail Quest written with an awareness of the twentieth century’s experience of war, especially the Second World War and Vietnam. Monaco has been criticized for the violence in the books, which he correctly defends as being present in the original, though the attitudes of Monaco’s knights, especially Parsival’s, are decidedly twentieth century. Parsival’s inner anguish arises from his innate innocence being lost in a violent world and a struggle to recover that innocence. His difficulty in coping is contrasted with Gawain’s natural, even cynical, approach to survival. Monaco’s books emphasise the hopelessness and despair of a violent world. Not for the squeamish.
Monaco, Richard (b.1940), Runes (US, 1984), Broke
n Stone (US, 1985) (f)
Monaco takes the Arthurian period back to the days of the early Roman empire, with Arthur being descended from Spartacus. Planned as one book, the second “half” is the more overtly Arthurian, but then promised a series which Monaco has chosen not to continue.
Moore, George (1852–1933), Peronnik the Fool (UK, 1921) (m)
A reworking of the Perceval story but drawn primarily from the French fairy tale in which an illiterate cowherd breaks his village’s drought by his successful quest to Grey Castle. Moore’s version is coloured by the loss of innocence following the Great War.
Munn, H. Warner (1903–1982), King of the World’s Edge (US, 1939, 1966), The Ship from Atlantis (US, 1967), these two combined as Merlin’s Godson (US, 1976), Merlin’s Ring (US, 1974) (f)
Taking place after Camlann, this is a report by the Roman centurion Ventidius Varro (who had served in Arthur’s army) to Rome about his subsequent adventures with his son Gwalchmai, and Myrdhinn, with the Aztecs. The story continues with the return of Gwalchmai, who finds himself trapped in Atlantis.
Newman, Robert, Merlin’s Mistake (US, 1970), The Testing of Tertius (US, 1974) (f)
Two connected YA novels. In the first, two young knights accompany Tertius to help him find Merlin and reverse a spell placed on Tertius which gave him future sight. In the second, they become involved in a dark plot to destroy Britain, and have to rescue Merlin.
Newman, Sharan (b.1949), Guinevere (US, 1981), The Chessboard Queen (US, 1983), Guinevere Evermore (US, 1985) (f)
Newman was the first to write the Arthurian story from Guinevere’s viewpoint. Guinevere tells of the future queen’s childhood and of the conflict between her Christian upbringing in a Romano-British family and the pagan beliefs of her nurse and of her mother’s cousin Merlin. Merlin dislikes Guinevere and disapproves of her association with Arthur. The pagan aspect of Guinevere’s beliefs is rendered physical in the form of the unicorn, which she is able to command and which becomes her “other self”, though it fades as childhood innocence is lost. Guinevere’s spiritual growth is represented by the character of Geraldus (the one anachronistic character in the novels) who serves as a form of inner conscience to Guinevere. The second book shows how Guinevere, now married to Arthur, is able to direct actions and exert her power if not her authority. The final volume follows her love affair with Lancelot and her fall from grace. Newman succeeds in portraying the gradual vanishing of the old pagan world and the emergence of the new, with Arthur as the lynchpin. Guinevere is torn between the two cultures just as she is torn between two loves.