The Mammoth Book of King Arthur (82 page)

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),
Broken 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.

Newport, Cris,
Queen’s Champion
(UK, 1998) (f)

The Lancelot story retold from his viewpoint. The emphasis is on Lancelot’s relationship with Guinevere. The main difference is the gay and lesbian element.

Norman, Elizabeth,
Silver, Jewels and Jade
(US, 1980) (f)

Of minor Arthurian interest. The story of Igraine before her life with Uther.

Nye, Robert
(b.1939),
Merlin
(UK, 1978) (f)

Nye reminds us that Merlin was the spawn of an incubus and a virgin but that the devil’s efforts to create an antichrist were thwarted when Merlin was christened.
Throughout this book, called an “adult fairy tale”, we have at the heart a story of the demon in us all. Nye’s text serves to remind us just how much corruption, betrayal and
infidelity there is in the Arthurian story. Previously Nye told the story of Taliesin in
Taliesin
(UK, 1966).