The Wood Wife - beautiful fantasy

                                        

  The Wood Wife by Terri Windling is the second book I've read for Carl's One Upon a Time Challenge.  I read Doll Bones by Holly Black last weekend, and will post about it next time.  (It's good, don't worry!)  The Wood Wife is one of those fantasy books that comes along a few times in one's lifetime.  It's true in some deep way that my bones recognize. A true story telling, that contains so much wisdom and spirit that the reader is enriched in reading the book.  At least, I was. 

First of all, you should know that I tried twice before in years past to read The Wood Wife, and failed both times to get past the second page.  I despaired, because The Wood Wife won the Mythopoeic Fantasy Award, and everyone who had read it has loved it. So what was wrong with me?  Then, in a lovely moment of synchronicity, I took out Jo Walton's new book What's So Great About This Book? from the library, and there was a lovely review of The Wood Wife.  I say lovely, because as soon as I read Jo's post, I knew that I wanted to read The Wood Wife asap. Luckily for us, Tor has links to past year's posts, and here is the link to Jo's Tor review of The Wood Wife.

What do I think about The Wood Wife?  I think it is beautiful.  It makes something in me sing, the same thing in me that recognizes that spirit lives in all things around us, and that telling stories brings out magic.  Books (telling stories) is a form of magic.  In The Wood Wife, Maggie Black inherits a dead poet's house in Arizona.  She had been corresponding with him for years, deeply moved by his poetry, but not invited to visit him while he was alive.  When she inherits his house, she is surprised, and the novel opens with her arriving at the house.  In a way, this is when Maggie arrives where she is meant to be, and the novel is the unraveling of Maggie the old, to Maggie the true. 

I love how Windling infuses the book with bits of the poetry the dead poet, Davis Cooper, writes, that has so moved Maggie:  a book called The Wood Wife.  The poetry Windling writes is lovely and rich, and each chapter opens with a bit taken from the 'book' Cooper wrote. Here is an example, from Chapter Two:              The hills call in a tongue
                                     I cannot speak, a constant murmuring,
                                     calling the rain from my dry bones,
                                      and syllables from the marrow.
                                                      -The Wood Wife, Davis Cooper.

  The longer Maggie stays there, the more she understands about Cooper and what he was writing about.  The language of the stones, the trees, the howling of the coyotes, the colours in the sky and the brush, the mountain - all these are alive and sing in the way that the earth sings to those attuned to it.  With Maggie hearing this for the first time, we the reader get to experience the land singing, and I found this incredibly moving. I could see the Arizona landscape, the colours, the heat, the way Maggie was experiencing them. It made me want to be there!

There are myths and mythic creatures in this novel, mixing Old World Europe with Native American myths. It feels a bit uneasy, which it is exactly that in real life:  the old myths and native American myths are uneasy with one another, although there is enough similarity that some of the stories and figures have gained a foothold here, even blended with one another when they are the same at their core.  This is the case of the white stag, which appears in this novel.  It is a familiar symbol from European and Celtic mythology, and in the hands of Windling, it becomes something rather more and special with the colouring of the Arizona native people's myths around it. What does the white stag represent?  In The Wood Wife, something a little unexpected, in the end.

Maggie is a poet, although she has lost this ability in looking after her first husband.  It's a failed marriage that ended some time before the novel opens, except that her ex-husband is still attached to looking after her.  It's a theme in The Wood Wife, about artists, spouses, loved ones, some of whom create, some of whom support artists.  What is the price of art?  What kind of art?  When does it become not healthy to seek out the Muse in nature?  In The Wood Wife, however, the land and the myths in the land also reach out to the artists, and the book is an exploration of how what one brings to art, also shapes if one survives being an artist or not.  It's a beautiful novel, tragic and hopeful, with love resounding all the way through it.

As Jo Walton says (and I completely agree with) in her review, it's refreshing that Maggie is 40 years old.  An older heroine, who has life experience already, and discovers how much more there is still to learn, about everything still.  I loved this.  Life doesn't stop once you have had your first adventure.  Sometimes the greatest adventure comes after you have tried and failed at things.  Sometimes it comes when after putting aside creative work, something awakens that true thing in the heart that says, yes.  I need to write/paint/dance/sing/build/grow, whatever it is that a person is really called to do.  This is what makes this novel so true for me, that people are sick when they are not doing what they should be doing, and become well and happy when they are. 
      "Beauty, motion, that-which-moves."
      "Ah.  that's what my Dineh relatives would call hohzo: walking in beauty.  That is how a man should live his life.  If he doesn't, he sickens and dies."

Maggie is wandering, homeless, working as a journalist studying artists and writers, because she is afraid to be open to poetry, and can't hear it any more.  She thinks she has lost it forever.  In coming to learn about and be around what moved Cooper Davis to write, she finds her way back to what she has lost.  That is the way that art works, and creative ideas.  They come to you through following what you love, and what inspires you, until you find your way to your true heart. 

There are also lovely human characters in The Wood Wife.  Dora is sweet and strong, and in despair as she watches her husband Juan pursue what he thinks is true art, though it turns out to be a much more dangerous thing than he realizes.  Johnny Foxxe makes music.  Cooper Davis wrote poetry, and his wife Anna Navarra painted extraordinary pictures of surrealism in the Arizona landscape, pictures that are lovingly described by Windling, so we the reader can picture them too.

There are Trickster figures, and mythic figures, and powers that stalk the land and watch over it.  Once again, as in Charles de Lint's books, there is the sense that the myths are not to be played with.  Juan makes a bargain with one of the figures, and almost dies.  Cooper did make a bargain, and died for it, as did his wife Anna.  Those old stories of faery touching and changing humans, linger here too.  There is a price to be paid for seeing the earth as it is, and walking with the figures of myths and stories.  Everyone who lives on the mountain is changed by living there.

The Wood Wife reminded me a little of Possession by A.S. Byatt.  In fact, I think The Wood Wife is what I wanted Possession to be.  I was a little disappointed in the dryness of Possession, in how the critical literary heritage in the book sapped the passion that is at the heart of creating poetry.  In The Wood Wife, all that passion for creating remains, and grows, so that making art is revealed  as a true calling.

There is a way to tell a story that is true.  Poetry, dance, all art have this sense around them, that if they are done true to how the artist feels and sees it, the listener feels it ringing or tingling through them.  The Wood Wife has this sense for me.  A magical, marvelous true fantasy.  I loved it.

Boneland by Alan Garner

So at long last our heat wave has broken.  We sweltered under a tremendous heat wave for the past week, and during June and July had many days where it was very hot and humid.  There is such a cool breeze coming through the window tonight that I might have to shut the window soon......all this to say, I can sit comfortably at the computer for the first time since I wrote my last post.  In that space of time, I read Boneland by Alan Garner, and have some thoughts on reading it.
                                                       

Boneland by Alan Garner is #3 in the Weirdstone Trilogy.  What happened to Colin and Susan after the ending of The Moon of Gomrath?  What happened is what happens when you find yourself in a fairy tale or a myth, come true.  I don't know how often as child that I wondered what it was like to be in a fairy tale.  I was fascinated by some of them, and some terrified me.  Some made me cry.  What I didn't consider then, what no child understands, is that myths change you.  You can't step into the forest, you can't follow the breadcrumbs, you can't chase the hind, you can't dance with the fairies, without something being forever altered.  It has to do with mystery, or Mystery, that unknowable real way that the world works in.  When we begin that hero's Journey Joseph Campbell talks about, even if it is as innocent as inheriting the bracelet that Susan wears and eventually loses, change is going to come.  Things can't go back to what they were, no matter what happens.  Children will follow the glitter, the fun, the adventure, and Boneland is the story of what comes after.

In this particular case, Susan is still gone.  Colin doesn't even remember her, except that as the novel unfolds, we realize everything he is doing is to try to find her again.  A lot of ancient British myth is lived through in this novel, as Colin struggles to remember what happened before he was 13.  It's a painful book in some ways, for he is considered troubled, with asperger's, as well as brilliant in his field, which is astrophysics.  How he helps himself is brilliant and sad at the same time.  The mind is capable of so much, but when faced with the loss of a sibling and no real answers, how does the soul cope?  Mystery has a cost, a price to be paid.  It is Boneland's success that Colin is recognizable as an adult from the child he was in the earlier novels, and that what has happened to him is believable.

This story of how he tries to heal himself is beautiful and true.  The language is the language of myth, rooted in his landscape and folktales as the earlier books were.  I love how he blends daily life with the myth, as we see the progression in Colin.  I love this bit on questions and answers:

             " (Meg) :  'But are you saying there's no final answer?'
               " 'I hope there isn't,' said Colin. 'I'm for uncertainty. As soon as you think you know, you're done for.  You don't listen and you don't hear.  If you're certain of anything, you shut the door on the possibility of revelation, of discovery.  You can think.  You can believe.  But you can't, you mustn't, "know".  There's the real entropy.' "
     
     He's right.  I read that sentence, paragraph, and I stopped, and realized it is true.  For so many things in this world.  When we know, when we think we know - when I think I know - I stop listening.  "I don't know" can be the start of so many wonderful adventures......

and so when it comes down to it, we have to go down the path.  We have to know where the trail leads, we have to know what that key in Bluebeard's house opens, we have to be kind to the Beast.  Fairy tales are true because in our souls we already know them, somehow.  Read Boneland and see how the myth of a place, the setting of stone and tree and sun and moon, gets into your skin, and becomes a part of how you think and relate to the world around you. That's where myth begins.

Boneland isn't an easy book to read, but it's a true telling of what comes after.  It's fascinating, too.  Highly recommended.

For Once Upon a Time: a bit of fairy lore

                                                       

  The Lore of Scotland, by Jennifer Westwood and  Sophia Kingshill, is a collection which I am reading in bits and pieces for the Once Upon a Time Challenge, for fairy tales and folk tales sections of the challenge. This book is so interesting - it has all kinds of Scottish legends, myths, fairy tales, and folk tales, collected from all over Scotland.
                                                          

For your folk tale and fairy reading pleasure on this late Sunday night, here is a folk tale about a brownie:

Boghall Farm, Near Dollar, Clackmannanshire

The Brownie was very like a man in shape.  His entire body was covered with brown hairs, hence his name. He slept all day and worked all night, when the whole farmhhouse was hushed in slumber. Although possessed of great strength he was harmless, and had more of a forgiving than a revengeful turn of mind. His food was sowans (oats steeped in water) and sweet milk, while his bed consisted of straw made up in some cosy corner of the barn.  To the farm of Boghall, near Dollar, Brownie rendered essential services; but it happened one very severe winter, when the snow lay deep upon the ground, and the frost was so intense as to freeze every running stream and well,that the woman of the house, afraid that her friendly Brownie would die, laid down some warm blankets on his heap of straw.  Seeing this, he immediately left the place saying:
    To leave my old haunts, oh! my heart is
         sair,
   But the wife gave me blankets - she'll see
     me nae mair;
  I've worked in her barn, frae evening till
     day,
  My curse on the blankets that drove me
    away.
   All the boon that I asked were my
     sowans and strae,
  But success to Bhoga' although
     Brownie's away.

Although he wished well to his former home, Boghall was never the same again.  'At the present day, it is little better than a wilderness', ends this account of the Boghall Brownie printed in The Scottish Journal of Topography in 1848.
                                      p56-57

Once Upon a Time VII

It's finally here!  This the 7th year of Carl at Stainless Steel Droppings' annual spring challenge. Once Upon a Time.....the chance to read all the fairy tales, myths, fantasy books, and folk tales that we collect, to read 'one day'.  One day is here.  I love how he describes it: 

"Over the voice of wind and cold I can still here that voice telling us that it is indeed time to once more “come away”.
It is that voice that beckons us to Middle-earth and Newford, that calls out from the gap in the village of Wall and from the world of London Below. It is the voice that packs so much promise into four little words…

“Once upon a time…”

Perhaps you too have heard that voice whispering on the spring wind, or perhaps Old Man Winter continues to drown out the sound; either way that time has come: Once Upon a Time is here!"

                                                    

I am doing my usual, signing up for everything! I can't resist.  Just pulling books from my shelves, books I've wanted and/or been saving for this challenge, I have too many to read in the next 3 months.  Part of the fun is selecting books, and then seeing what I do get read.  I am doing Quest the Third, which is to
   "Fulfill the requirements for The Journey or Quest the First or Quest the Second AND top it off with a June reading of Shakespeare’s A Midsummer Night’s Dream OR a viewing of one of the many theatrical versions of the play. Love the story, love the films, love the idea of that magical night of the year and so this is my chance to promote the enjoyment of this farcical love story."
       I am planning to complete the Quest the Second, which is: 
     "Read at least one book from each of the four categories. In this quest you will be reading 4 books total: one fantasy, one folklore, one fairy tale, and one mythology. This proves to be one of the more difficult quests each year merely because of the need to classify each read and determine which books fit into which category. I am not a stickler, fear not, but I am endlessly fascinated watching how folks work to find books for each category."

Here are some of the books I think I might read over the next four months:

Fairy Tales
- Some Kind of Fairy Tale - Graham Joyce
- Beauty - Robin McKinley
 - The Uncertain Places - LIsa Goldstein
 - Of Blood and Honey - Stina Leicht
 - Fairy and Folk Tales of Ireland - WB Yeats

Fantasy:
- First Rider's Call - Kristen Britain
 - A Midsummer Tempest - Poul Anderson
 - Ship of Magic - Robin Hobb
 - The Bards of Bone Plain - Patricia McKillip
- The Hobbit - J.R.R Tolkien

Myth:
- The Kingdom of Gods - N.K. Jemison
- A Monster Calls - Patrick Ness
 - Hide Me Among the Graves - Tim Powers

Folk Tales 
 - Fairy and Folk Tales of Ireland - W.B. Yeats
 - Songs of the Earth - Elspeth Cooper
- The Lore of Scotland - Jennifer Westwood and Sophia Kingshill (**added as soon as I wandered over the  folk and fairy tale shelf to see what I forgot.  I bought this last year, this looks like a fascinating compendium of Scottish lore and legends.)

Carl also has a Short story section to the challenge, where he encourages us to seek out short stories: "This quest involves the reading of one or more short stories that fit within at least one of the four genres during the course of any weekend, or weekends, during the challenge."




Short stories:
 - something from The Bloody Chamber by Angela Carter (this would be a re-read for me, but I feel her collection calling to me, and until I can get my hands on her fairy tale book, this will be just as good)
 - something from Wizards ed by Martin Greenberg
 - Muse and Reverie - Charles de Lint
 - some ghost stories from various anthologies
- something from the Terri Windling and Ellen Datlow fairy tale anthologies (I always think I will read the whole anthology and get distracted, so it's easier to read a short story or two or three....)

And finally, there is fantasy on film and tv:

 

"Stories are not just limited to the printed page. Many entertaining, moving, profound or simply fun stories are told in the realm of television and film. To participate in this quest simply let us know about the films and/or television shows that you feel fit into the definitions of fantasy, fairy tales, folklore or mythology that you are enjoying during the challenge."

Screen:
- The Hobbit ***watched last night, for Earth Hour (and beyond).  Reviewed already here.  Love this movie as much the second time around.  The dragon is still impressive even on my tiny tv screen.  My daughter is so anxious to see more of the dragon!!  We all enjoyed it, even the 8 year old who has difficulty sitting through longer movies.  I think this will become a regular movie viewing for my family.
- I am planning to see a version of A Midsummer Night's Dream, during these three months.
 - we have various Narnia movies, Golden Compass, Penelope, Enchanted, possibly some Grimm or Once Upon a Time, The Company of Wolves.........many more too.
 - I also have Game of Thrones from season 1 to finish, then S2 to catch up on.

Just remember:  This is only a partial "these look interesting today" list.  I'm hoping to add a few more, and leave this open for new books to find their way in. I am really excited that this is here.  I really wish I could find a copy of Boneland by Alan Garner over here.  That would fit in beautifully with this challenge.

Short Story Special event:
A special treat: Neil Gaiman has a short story published on the Guardian site this weekend. "Down To a Sunless Sea". Click on the link to go to it.  It's a wonderful sad and creepy short story.  The perfect way to begin Once Upon a Time!

The Hobbit and Alan Garner - some fantasy musings

The Hobbit 
 I completely missed the 75th anniversary of the publication of The Hobbit, yesterday.  I found this wonderful article on why The Hobbit has become so popular, over at The Telegraph: The Hobbit, What Has Made It Such an Endearing Success? It's quite a good article, with some food for thought on myths and legends and sources for fantasy.  The Hobbit was my introduction to Tolkien and the world of fantasy, it will always be dear to me for that, never mind that it is such a fun story, so well-told, so rich that I can read it over and over and never grow tired of it.  That makes it a special book, indeed.

Alan Garner
Over at Reuters, there is a lovely article on Alan Garner and why he wrote the newest book, Boneland, in the Colin and Susan series.  I have been reading The Weirdstone of Brisingamen for the last little bit.  It is even more suprisingly good and deep and dark than I remembered from my long-ago reading of it.  I am enjoying his use of setting, place names, and the people.  I can feel how much the sense of location and the feeling of myth around works its way through the book, and Garner talks about this in the article I linked you to.  He makes a valid point that landscape is necessary to people to not be alienated, that a connection to landscape is needed.  This feeling for how the land is, comes through in his books, and I'd forgotten how strong it is. 

Myth and landscape
Both article talk about myth, and how myth is needed for us as a civilization.  We need stories.  We need adventures and heroes, and to venture into the unknown and come back again.

Myth and landscape.....in fantasy, they are intertwined.  Place, the story of place, how the mountain got it's name, why the river flows in that shape, how long the old tree has been growing in the field. Do you look around your landscape and feel some connection to it? do you watch it through the seasons? Do you feel a sense of home when you come down the road to your place, do the hills and grasses and animals seem to welcome you back?

Animals
 We often have bears, moose and deer even here in Ottawa, when the animals come wandering in out of the fields and forests, looking for food. Here's  a story from two weeks ago, in the west-end of our city: bears chased from west-end neighborhood.  Is it any wonder that so many of our myths and stories feature talking animals, or shapeshifters, or ancestors who are honoured animals? We have skunks, raccoons, and rabbits as neighbors, even here in the middle of the city.  I have seen snakes, frogs and turtles during my many walks in my neighborhood, thanks to the Mud Lake Preserve two blocks from our house. Does a bog creature live in there? perhaps, the water is deep enough.....

Magic and myth in the world
Fantasy is about taking that first step out there, into the wild, out of the city, into the forest, the river, the nature preserve, the countryside, and into myth, and legend, folk-story, fairy tale, the story of encountering the other.  There is magic and myth in the world, and fantasy is our modern storytelling way into remembering it, and finding it again. It was reimagined for the modern age in The Hobbit.  I for one am always grateful for the wonder and imagination that fantasy brings into my life. 

The Hobbit doesn't use the sense of place in the same way that all of Garner's books use, and it's interesting to study them both and see the variety of fantasy at work in both authors.  Both have a rich use of language as well, Tolkien drawing on Norse myths and sagas for his world and frame of storytelling, Garner drawing on Celtic myths and fairy tales for his.  Tolkien is pure story, Garner is language and mood and landscape.  Different kinds of fantasy, both rich and delightful in each of their ways. 

I'm not sure what I'm trying to say here on this Saturday night.  Mostly I am musing about fantasy, things being stirred up in my mind by both articles.  Fantasy is one of my delights in reading, and I wanted to share with you some of what I think fantasy needs to be successful, like The Hobbit is.

What do you think?  Have you read either author? Do you find fantasy stirs your sense of wonder and  imaginings?

Sunday Salon - Neverwhere , fantasy at its best

I read Neverwhere for Carl's Once Upon A Time 3 challenge (yes, I still have to do the wrap-up....). As is usual for me, I come upon authors late, and read their earlier books much later after other people often do. This has been the case with Neil Gaiman. Of all his novels, I believe American Gods was the first one I read by him! I'd read his short story collection Smoke and Mirrors while in England. They both almost made it onto my books of the year list, but not quite; American Gods was fascinating, but I felt somewhat removed from what happened to the character, and I still can't quite figure out why, since I enjoyed it very much. So when I read Neverwhere, after hearing for some time on our blogging world about how it's possibly one of his best written, I knew it was going to be good; except for the odd short story, I haven't read anything by him that I haven't really enjoyed. I wasn't prepared for how good Neverwhere is. It is possibly the best book he's written, or at least in a close tie with The Graveyard Book, which is one of those books that I keep turning over in my mind.

An aside here: the reason Smoke and Mirrors didn't make it on my list of favourite books for that year, is because by far the most effective story in it is in Neil's introduction, about the wedding gift - the letter - he gave his friends (or was going to give.) Very very creepy, but not an actual story! That one I can't get out of my head! Although I read it so long ago that I have to re-read it to see if Snow, Glass, Apples is as frightening as I remember....as a whole, short story collections don't make it onto my favourite reads for that year. I don't know why, it might have something to do with the unevenness - no short story collection is perfect, which is why Locus, the Nebula and World Fantasy awards have 'best novella' and 'best short story' categories........Although, I do here have to make a comment for Fragile Things, which I did read last year. In the confusion of being sick (I got strep throat in Nov) and going to England, I did finish Fragile Things, but it got left off my list of books read, and looking back now, it's not even on my list of favourite books of last year. Which is just wrong, because despite what I just wrote about short story collections, I think it's one of the best short story collections ever written! I'll have to create a special place for it, maybe one of those lists of 'books I've overlooked and don't know how this happened' kind......maybe a short story collection list......

Anyway, back to Neverwhere: On the post I wrote for Fantasy and Science Fiction Day three days ago, Nymeth left me a comment about Neverwhere that catches what I was attempting to say about why fantasy is relevant to our modern life. Nymeth wrote: ..."especially what you said about how fantasy creates myths for today. It reminded me of how I felt looking at the names of underground stations in London after reading Neverwhere. I know the stories are not real - and yet having them at the back of my mind makes my life a little better, a little richer, a little more mysterious. That's what myths do."

Nymeth is absolutely right. I'd just been to London at Christmas, so the Tube was fresh in my mind, as well as central London, where we spent most of our time visiting. I am in a way glad that I read Neverwhere after I was in London. Because I'm not sure I could have gone down into the Tube again. I'm pretty sure I'd be looking for doors and hidden staircases that no one else seemed to see....

Also, ever since the film An American Werewolf in London 20 years ago, I've never been able to be really comfortable in London's Tube. Plus, I hate being underground anyway. Even if it's a great way to get around London - and it is - I want fresh air and to know that at anytime, I can get away if I have to. Always now in the back of my mind is the memory of July 2005, and the bombings on the Tube . So, with all this already in my mind, already predisposed to think the Underground as fairly creepy, I opened Neverwhere.

Neverwhere is the story of Richard Mayhew and how one night, he rescues a girl who is bleeding and in distress. She turns out to be the only survivor of her family, who were massacred previously. She lives in the Underworld, where Richard follows her after he is threatened by the men who are her would-be assassins. How Richard finds her, and helps her, and what he discovers on his journey underground, makes for a fabulous imagining of what London's Underground world could be like.

Gaiman has held back nothing in creating this underworld, 'London Below Ground'. There are references to myths and fairy tales, there are monsters, evil characters and heroes. All set in a world just a little below where we live. This is real fantasy. I particularly like that Gaiman holds nothing back - one character dies, that had me yelling out "no!" and crying, in a horrific scene that is among the worst nightmare voyages across a bridge that I have ever read. There is betrayal, some satisfying - what happens to the two assassins is particulary fun to read, if graphic! - and some astonishing. I want to go to that moving market, even if it is scary and nightmarish, it still looks fun! And I really want another story with Door. I think she is the best female character he has created so far, with the exception of Coraline. I liked Door. I didn't like Richard at the beginning - I really wanted him to get a spine, the way his fiancee pushed him around! - but by the end, I did. I understood his decision, even as it feels like a loss to the world. And it is.

The power of Neverwhere is that even though Richard becomes an outcast as we would describe it 'Above World', he really finds himself in the underworld. It is a very accurate retelling of the Hero's Journey as Campbell describes it in A Hero With A Thousand Faces, except the message Richard would bring back, about this alternate society below ground, is completely unaccepted and unacceptable to the real world. No one wants to know there is a whole society underground. So all the things Richard learns about himself, all the strengths and skills he acquires, the position he attains, can't be brought out into the real world. It is an unfinished journey for the world, but for Richard his journey is done, and in the end he has to choose where he lives.

Now when I think of London's Underground, as well as all the layers I previously mentioned colouring how I see it, I have Neverwhere transfiguring it. All the way through the book, as Nymeth says, I looked at the names of the Underground stations used in the book, and I remembered what they were really like when I last saw them, and then superimposed Neverwhere's version of the Tube. *shiver* This is what really good urban fantasy does. It reimagines our landscape, using fairy tales, myths, shadows, and 'what if's' to show the landscape in a different light. Pure magic.

This book is dark and frightening and as disgusting as you would imagine life without light far in the earth to be, and it is weirdly wonderful and true and eerie, like a dark carnival. I found myself liking life underground better - there was more honesty it seemed in the life and death situations and in the rules followed, than in London Above, where Richard finds success empty if it has no meaning.

This book also reminds me about the cost of making a journey for the soul. We either take the journey and discover something precious, or we don't take it, and life half a life, where nothing is very deep. If the journey is taken, something is always lost, or has to be given up, by the hero at the end, even if it is the lie that was the previous life, or love that didn't last, or the future only half dreamt of. I know which I prefer. Neverwhere is a powerful work of fantasy. Like Coraline, it brings you through to the other side safely. It's a very dark trip, but one well worth taking.

I've already lent the book to one of my friends to read. It's one of my favourite books of this year.

I do have to say though, I still prefer to see London by double-decker red bus!

Fantasy and Science Fiction Book Day

To begin with, Nymeth wrote a most amazing post about why she reads fantasy, here. It really is worth reading. It explains a lot about what I believe about fantasy reading and writing, and why it is worthy to be called literature.

It led me to wonder why we still feel a need to defend ourselves for reading fantasy. It's been 50 years since Lord of the Rings was published, and people who read fantasy are still looked down upon. Why is that? Why do I feel that reading a book with elves on the cover is somehow less than reading an English classic? Because sometimes I do. And I don't like it. Is it the idea that it's escapist literature, as Nymeth says, and so it can't be taken seriously as representing the truth about us? Why do we need fantasy literature?

I believe that we do need fantasy in our lives. I have mentioned on past posts that I think fantasy is retelling myths for us in the modern world. A sub-group of fairy tales and myths, if you like. Those original myths we all grew up on, the world over, how the world was created, Sleeping Beauty, Beauty and the Beast, dragons - at its core, fantasy is about how we imagine the world, and our place in the world. We have always needed fantasy, even if we don't know how to respect it. I think that is because somewhere deep inside we also fear fantasy because it seeks to tell the truth about our lives, about human beings and their potential, no matter what circumstances they find themselves in. Fantasy offers us in all our good and bad in every world possibly imagined. That is part of it's power. We hold a mirror up to ourselves, through fantasy. I think people who are afraid of fantasy, are afraid of imagining how things could be different. As Nymeth says, we are not hobbits, but hobbits are us as they experience war for the first time. The power to imagine ourselves differently, and imagine our lives differently, is the power that any who seek to control a person and society, fears the most.

Also as Nymeth also points out, not all fantasy is good. She says, and I agree, not all books in any type of literature are good, either! Every kind of fiction has its strengths and its weaknesses. One of the worst weaknesses of fantasy is when the writer fails to imagine anything unique to themselves. So they write what's gone before, and the fantasy falls flat. This could be said of every book ever written, of course: if something of the writer finds its way into the book, then it has a seed of genuinesss about it that makes it worth seeking out, even if it's not very good. Fantasy gives us so many hundreds of ways of bringing that genuiness out - all that's needed other than writing talent, is the power to imagine.

So all that being said, maybe next time I'm reading a book with elves on the front cover, I'll think back to their fairy tale origins and when someone rolls their eyes at me for wasting my time over a book like 'that', I'll reply: "This is storytelling at its best! You don't know what you're missing!"

Now, Nymeth didn't cover science fiction and I'd like to say a few words in its defense. Why read science fiction? What does gravity have to do with being human? Well, for one thing, if we didn't have gravity, we'd all be floating in the universe......scratch that, because none of this - life on earth - would exist. That doesn't mean science fiction is as necessary as gravity! Though it makes a fun analogy.....what it does mean is that science fiction is about us in space. "Ooh, boring", the woman clerk, or the neighbor who doesn't read, might say. "Why do you read that stuff?" Well, I read science fiction because I'm curious about the universe, and I really think that one day we can get a ship up long enough to explore the stars. I think we have to, because the earth isn't big enough to contain all that humans can be.

The same ability is needed to imagine us in space, as is needed to imagine alternate worlds as we do in fantasy. Only space is all around us, we can see the stars with our own eyes. Haven't you looked up in the night sky, and just wondered: What's up there? What's it like? How would it be to be able to travel from star to star? Now I know that will lead to somewhat technical discussions about the distance involved and the speed of light and other things that I can't get my mind to grasp. So I confess that I usually skip over the techno stuff. What I like, is imagining us on the space ships, and what happens to us there, because all our problems and all our beliefs and all our good qualities come with us there, too. I like science fiction because it offers us a possible future, many possible futures, as many futures as we can imagine them.

I know fantasy and science fiction isn't everyone's choice of books. But for those of us who love them, I would wish that the rest of the literary world would stop looking down at us, and greet us as equals. Because once we have tamed the earth (and that would learning how to live on here in a way that keeps the earth alive and healthy), the stars will still be waiting to be explored. And where will we look for the ideas on how to get there? You're right. Science fiction. Many of the writers of science fiction have science degrees. So the next time someone sniffs at your rocket-ship covered book, you can tell them, "This is serious well-thought-out science." Or something like that.

And I can't, and I won't, imagine a world without Star Trek!

I do prefer fantasy to science fiction, and I think that both are necessary forms of literature. As necessary as breathing, in fact.

Why do you read fantasy and/or science fiction? How do you celebrate it in your life?

myth in science fiction and fantasy

I have spent the last week reading and re-reading various parts of the essay "Myth and Archtype in Science Fiction", from Ursula K Le Guin's The Language of the Night. I was trying to read the entire book for Carl's Sci Fi Experience, but I've decided that there is too much food for thought in this book to rush it.

For me, there is so much to think about, about how science fiction and fantasy is serious literature. I think it has been wrongly judged from its very inception with Lord Dunsany last century, as children's literature, or just stuff about dragons and witches and magic, and therefore to read lightly, with no serious intent. Le Guin challenges that notion in her essays. Each one is thought-provoking, and passionate. It makes me realize how little even today science fiction is thought of. It is still relegated to the realm of geeks and science nerds, of people who can't quite make it in the real world. Yet that is a myth that we can only change when all of us who love it start proudly saying, "read this", or "look at the ideas in this", to people who've never thought of reading it. I don't mean we have to get on a soap box and declare it serious literature, because plenty of it is not, plenty of it is written for fun, and that's good. I just think it's time that we who love science fiction and fantasy, should be able to stop apologizing, as if we've made a mistake and will shortly correct ourselves by reading only the NY Times bestseller list. Personally, I think alot of serious literature is written, as Nick Hornby says in his collection of essays The Pollysyllabic Spree, only for other serious critics of literature. No one else is going to read it! Science fiction and fantasy can be darn good, satisfying as nothing else can be, when it's done right.

And what is good science fiction? Well, in this essay, Le Guin says it's 'the writer who draws not upon the works and thoughts of others, but upon his own thoughts and his own deep being, will inevitably hit upon common material. The more original his work, the more imperiously recognizable {her quote} it will be.........
"The artist who works from the center of his own being will find archetypal images and release them into consciousness. The first science fiction writer to do so was Mary Shelley. She let Frankenstein's monster loose. Nobody has been able to shut him out again, either. There he is, sitting in the corner of our lovely modern glass and plastic living room, right on the tubular steel contour chair, big as life and twice as ugly."

Isn't that a great quote? Frankenstein as myth. And he is. In her nightmare, Mary Shelley somehow plugged into the future where we could literally sew parts of other bodies together, which we do with our surgeries and operations. It's an awesome power, terrible and wonderful, and we haven't quite come to terms with it yet as a society. So there he sits, waiting for someone to tell him - or us - about the mysterious power of Spirit that is the animating force of the universe, which thank heavens we can't control. Waiting for us to recognize him as ourselves, which not even Frankenstein could do. For a long time as a child I was afraid of the monster because he couldn't be reasoned with, but as I became an adult, I began to feel sorry for him because his master, the one who made him, who he wants to love him, rejects him instead. It's an awful, powerful story, and touches a raw nerve that has become a modern myth. That's the power of true science fiction.

This could be said of all literature, of all good books. Le Guin says that (I'm paraphrasing here) the artist who is able to bring back something personal, something out of his or her own experience, brings back something for the rest of the world to discover themselves in. This is something I've come across in all my how-to-write books; that the only things worth writing about is what's inside me, because it's my interpretation that gives the world another insight or view. It doesn't mean I can't write what's around me - that's the stuff we use to create with, but we create out of our dreams and nightmares. That's where myths lie, I think.

I still don't quite understand why fantasy is as neglected in the literature reviews as it has been all these long years it has existed. Books keep getting taken out of the fantasy area and put into classics - The Iliad, and The Odyssey, are both great fantasy stories! - Beowulf, and if The Lord of the Rings didn't have Gandalf the Wizard, I'm sure that somehow that would find it's way onto the best books ever written, instead of getting left off all the time.

I like how she explains the danger of the fantasy archetypes: "Beyond and beneath the great living mythologies of religion and power there is another region into which science fiction enters. I would call it the area of the Sub-myth." She goes on to explain that these are motifs and characters which are alive, but have no deeper meaning associated with them; " - the blond hero of sword and sorcery, mad scientists, detectives who find who done it, brave starship captains.....They have no element of the true myth except its emotive, irrational "thereness". The artist who deliberately submits his work to them has forfeited the right to call his work science fiction; he's just a populist cashing in.
True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond hero - really look - and he turns into a gerbil. But you look at Opollo, and he looks back at you.
The poet Rilke looked at a statue of Opollo about fifty years ago, and Apollo spoke to him. "You must change your life," he said.
When the genuine myth rises into consciousness, that is always its message. You must change your life."

Isn't that a powerful interpretation of how myths still work on us? Now how many bestsellers on the NY Times book list would matter? Not many.

I read fantasy because it talks to me. Somewhere in me I must have a dragon curled up, and a black cat skulking in the light. I must have a sword that still needs to be claimed, and a unicorn still wanders. Ghosts inhabit my dreams, and so I reach for books that contain them, whether it's ghost stories or fantasy stories, to better understand what ghosts have to say.

I think fantasy reaches that place that ordinary books can't reach, the place that believes that things can be different. I'm not saying fairies exist! Maybe they do, because they were in folklore long before fantasy books ever existed! I think it's a need to explain the unexplainable, the acts of mystery and wonder, the synchronicities and timings that change our lives when they happen. There is also the idea of a calling, which I think the myth of King Arthur captures perfectly - he lifts that sword out so easily - all the hard work of doing what he is called to do, is still to come. Fantasy is all about the call, and the answer, and how the world is changed or righted, by answering that call. So most of it would be sub-myth, easily. So my question to you, my dear readers, is: can you think of a fantasy that might have a touch of myth about it? Is there a fantasy book that has worked on you, so that some element in its story has become part of you? Because that's how myth works, as Le Guin and Rilke show. I may joke about having dragons and cats inside me, but I don't think it is just a joke. I do dream of ghosts, very often. My fantasy story I wrote last year is about reclaiming a power my heroine thought she was forbidden to use. I am not saying it will even be published! I haven't done the second draft yet. In the writing of it, though, and in the 25 years or so that I've been reading fantasy, I've come to know that fantasy tells a story in a way that no other genre can. So, if we need myth to live by, is there a fantasy that you would recommend to someone - other than The Lord of the Rings! - to start with? Is there a fantasy you are passionate about? I'd like to know what fantasy moves you, what book makes you really respond to it.

Being an artist is not easy. As I cruise my way among the fantasy shelves, there have been times when I have walked away with nothing in my hands, depressed because nothing new has been written. What I really mean when I say that to myself, is that nothing meaningful has been written. The danger of fantasy and science fiction is that we as readers will settle for the Submyth, the endless fantasy trilogies and wars that threaten the world, the endless inventing of worlds, without the story bringing something new into being.

The best of fantasy and science fiction? Ah, that has the power to change the world. Look at Fahrenheit 451, which I read last year, and how we are still wrestling with the idea of banning books. Look at The Lord of the Rings, which still towers over almost everything written in fantasy since. Even though not everyone can get through the three books, what the books are about is seeping through our skins into our minds, so we know even if we've never read the books, who Frodo Baggins is, and Gandalf the Wizard. They, and the ring, are moving deeper down culture's unconscious, touching the area of Myth. Le Guin is convinced fantasy and science fiction is a serious subject. She says of Tolkien, "Tolkien did it; he found a ring, a ring which we keep trying to lose...." The story of the ring is something more than itself. There's something there.

I especially like this description she gives of a living image of myth that reaches out to touch all of us through the artist's work, and why it touches us:
"A dragon, not a dragon cleverly copied or mass-produced, but a creature of evil who crawls up, threatening and inexplicable, out of the artist's own unconscious, is alive: terribly alive. It frightens little children, and the artist, and the rest of us. It frightens us because it is part of us, and the artist forces us to admit it."

And that's why I read fantasy, and keep coming back to it.

another essay, and Dark is Rising and Greenwitch

This is The Language of the Night, the book of essays by Ursula K Le Guin that many of you have been asking me about. I have the 1979 edition, which is trade paperback. I'm not sure if it is still available, I don't think so, at least according to Amazon.com, it is only available used. This book has a collection of essays and speeches given by Le Guin over her early career as a writer, because of course she has continued to write these past 30 years since this book came out!

I have been reviewing - or rather, writing about - the essays in her book, in some of my posts this month, because each one is so important to understanding why we all (or most of us in the book blogging community that I have met) read fantasy. In the wider world, of course, we are reading a genre that is treated as only slightly above horror, and barely tolerated as literate, never mind as great literature. This despite the efforts to recognize within the fantasy and science fiction book world excellence in writing. She extends this to children's literature as well. Le Guin addresses all of these concerns in her essays. She also talks about the act of writing. She writes about writing, and reading, and what we find when we go on a voyage into these books. Because I love fantasy first and foremost, her books seem to talk directly to me, affirming to me what I have long ago thought in my heart about fantasy, and what I discover in my soul every time I venture into a fantasy book.

Here is what I discovered in today's essay, "The Child and the Shadow". I read this over a toasted bagel with cream cheese, and a cup of tea, and about half-way through the essay I realized I had eaten most of the bagel without tasting it, because there was so much other food for my mind in the essay.
She opens with a quick retelling of one of Hans Christian Andersen's fairy tales, about a man and his shadow. The essay asks, Is it appropriate for children to read? Because society - parents,school boards, etc, are always asking what is 'good' or 'appropriate' for children.
She writes about the Andersen story: "I don't know. I hated it when I was a kid. I hated all the Andersen stories with unhappy endings. That didn;t stop me from reading them, and rereading them. Or from remembering them.....so that after a gap of thirty years, when I was pondering this talk, a little voice suddenly said in my left ear, "You'd better dig out that Andersen story, you know, about the shadow.
At age ten I certainly wouldn't have gone on about reason and repression and all that. I had no critical equipment, no detachment, and even less power of sustained thought than I have now. I had somewhat less conscious mind than I have now. But I had as much, or more, of an unconscious mind, and was perhaps in better touch with it than I am now. And it was to that, to the unknown depths in me, that the story spoke; and it was the depths which responded to it and, nonverbally, irrationally, understood it, and learned from it.
The great fantasies, myths, and tales are indeed like dreams: they speak from the unconscious to the unconscious, in the language of the unconscious - symbol and archetype."
Isn't that somehow perfectly said? As if Le Guin herself had bypassed all the reasons why we should read fantasy, and said why we do read it - because it speaks to something deep inside us, the place in our hearts and souls that other books that are 'reasonable' and 'good' for us don't reach. I think the idea of morality is very important, and Le Guin goes on to make a much deeper connection between fantasy and morality in this essay: she says that instead of dividing good from evil, that we must learn, what our souls know, that good and evil are intertwined. Not mixed, but rather, in order to live a whole life, we must face the darkness in ourselves, in order to contain that darkness. If we don't face it, we become lonely, because we are cut off from our deepest source of creativity and understanding about the world. If we do face it, we show the world that evil can be contained in ourselves, and we show the way for others - for children, in our stories, how to do this. How to face our shadow, and win. She also makes the important statement that we can't cut off the shadow, we can't forget about it, or ignore it; it just grows stronger, until we, the conscious self, becomes the shadow of the Shadow, which is now corrupted with the evil we wouldn't admit to. It's not easy to say, I can be like her - the worst crimes committed, but if we can find a way to acknowledge the seed of the idea might possibly exist in us, no matter how dark, we are saved.

So how do we find our way to our shadow? "How do you get there? How do you find your own private entrance to the collective unconscious? Well, the first step is often the most important, and Jung says that the first step is to turn around and follow your own shadow."

And children, I believe, instinctively know this. Le Guin makes this point again and again: they see with an uncluttered mind, uncluttered with reason, logic, all the ways adults use to stop themselves from seeing. Even if the child doesn't understand all the facets of the story, they instinctively know it's true in its depths. Not just the battle between good and evil, which we all face every day as adults, but how we live our lives. They know if someone or something is true. So my favourite Andersen tale,

is one that I have both feared, dreaded and loved dearly. All at the same time. As an adult, I can acknowledge that the Snow Queen lives in me, that I have the fearsome and awesome capability to freeze my emotions if I have to, in order to survive. If I am in danger of doing this, my dreams tell me - I'll dream I'm in the arctic, or ice or snow is all around me. And the way home for me is to love, is to feel again, to be passionate. So, fairy tales are true. How did my child-self know all those years ago? The fairy tale is my guide and my instruction home again. So is The Hobbit and Lord of the Rings, so is Beauty and the Beast, so are the best fantasy books and fairy tale books and our cultural myths we tell. Le Guin says fairy tales give children the chance to see yes, the world is full of danger, and yes, there is a way to survive. We do have to be careful with children, to not shatter them with too much knowledge too early. What we can show them, she says, is this: "And it seems to me that the way you can speak absolutely honestly and factually to a child about both good and evil is to talk about himself. Himself, his inner self, his deep, the deepest Self. That is something he can cope with; indeed, his job in growing up is to become himself.....He needs to see himself and the shadow he casts. That is something he can face, his own shadow, and he can learn to control it and be guided by it......
Fantasy is the language of the inner self."

Anyway, that's why I forgot what I was eating for breakfast, because her essay swooped me away into my deeper self, where I remembered that going within is the most important journey each person makes, and necessary to the well-being of the world. So, what is your favourite Andersen, or other, fairy tale? Is there a relation between that story and you?


So, with all that in mind, how does a classic children's fantasy series measure up?


The Dark is Rising and Greenwitch, books 2 and 3 in the Dark is Rising series by Susan Cooper. This is a fantasy series written for children, and won two Newbery Awards - for The Dark is Rising volume, and The Grey King.
I read Over Sea, Under Stone last year, and my review is here. The next two volumes are even better.

Dark in Rising introduces Will Stanton, and what happens to him on his 11th birthday. It is a true fantasy story, filled with Old Ones, magic, items to find, protecting the world from Evil, and in this book, the wonder of a Christmas with the Stanton family with their 10 children. This is a classic book of good vs evil, with a delicious sense of danger and malevolence that I love: 'And then in a dreadful furious moment, horror seized him like a nightmare made real; there came a wrenching crash, with the howling of the wind suddenly much louder and closer, and a great blast of cold; and the Feeling came hurtling against him with such force of dread that it flung him cowering away.'
I love this bit, which Cooper does in all the books: weave in a bit of local lore, that grounds the books in Cornwall (Over Sea) or The Thames Valley (The Dark is Rising), using existing magical lore to deepen the connection of how to find your way in the land of magic and dream:
"Here," Old George said, appearing suddenly at Will's side as they all pushed the cart out of the gate. "You should have some of this." He thrust forward a great bunch of holly, heavy with berries.
"Very good of you, George," said Mr. Stanton."But we do have that big holly tree by the front door, you know. If you know anyone who hasn't -"
"No, no, you take it." The old man wagged his finger. "Not half so many berries on that bush o'yours. Partic'lar holly, this is." He laid it carefully in the cart; then quickly broke off a sprig and slipped it into the top buttonhole of Will's coat. "And a good protection against the Dark," the old voice said low in Will's ear, "if pinned over the window, and over the door." Then the pink-gummed grin split his creased brown face in a squawk of ancient laughter, and the Old One was Old George again, waving them away. "Happy Christmas!"

This book is filled with danger, and evil, and goodness, and light, and those that stand eternal guard against the dark. It's a wonderful story, and I really enjoyed it. I also really wanted to go and put some holly and berries over my doors and windows!!

Greenwitch brings together the children - Jane, Barney and Simon Drew from Over Sea, Under Stone, with Will from The Dark is Rising. They are again in Cornwall, and they are brought there under the guise of a week's holiday in April (a school break time in England). Really, they are looking for the Grail, which at the end of Over Sea, Under Stone had been placed in a museum. It has been stolen, and Merriman, the Old One who is the Merlin-like figure of aid to Will in the stories, knows they have a small window of time to find it before it is lost forever. Being the Grail, it is indispensible in the fight against evil. This story took a while to find a balance; it read more like an adventure in the Enid Blyton style, then when it was involving Merriman and Will, suddenly it had the more mythic overtones that The Dark is Rising contains. Over Sea, Under Stone had the same juxtaposition of adventure fun with mythic overtones. Cooper is a good enough writer that she in the end pulls it off, and Greenwitch works on a much deeper and better level than Over Sea, Under Stone does.

I think this is because Greenwitch is based on a Cornwall ritual of making an offering to the sea. Whether this is based on a real Cornwall ritual, I couldn't say, but it feels like once upon a time, it could very well have been done. It is very simple, the creation of statue of branches - for those who know their trees, rowan and hawthorn especially are used. How the Greenwitch figures in the story, I don't want to give away, but I do want to say that this is again a magical story, with old magic and Wild Magic, which are two different things. I like this too, that there are different kinds of magic in the world. It works especially because what Jane does crosses the divide between the Wild Magic and Old Magic, something no one else is able to do because it doesn't come from knowledge, but understanding, and sympathy. So often, the greatest fantasy stories are about this act of sympathy - remember, Bilbo doesn't slay Gollum when he has the chance, and so he saves the world. What Jane,Simon, and Barney do, make up the bulk of the story, and it is believable in the way adventure stories must be for children, as well as full of wonder, as magical stories must be. Will and Merriman are more watchers, seeking the Grail specifically; I think their story is the whole of the 5 books put together. I think Cooper put ordinary children into a mythic story to see what would happen, and it is fun, exciting, and dangerous, just like the best stories for children are.
"Barney felt again the power and the nastiness that had leapt at him from the canvas he had seen the man painting in the harbour; up on this ceiling too he saw the particular unnerving shade of green he had found so unpleasant out there. He said suddenly to Simon, "Let's go home."
"Not yet," said the dark man. He spoke softly, without moving, and Barney felt a chill awareness of the Dark reaching out to control him."

Very highly recommended. I have to buy the last two in the series, and that will be later this month. I have to know how it ends!

Finished! OUT2 and A Midsummer Night's Dream

Hurray! OUT2 is completed!!! I finished A Midsummer's Night Dream just before midnight. Yes, it is now after midnight! I did it, my very first challenge completed! This is such a relief - I do sign up for the challenges intending to read all the books, and I want to read them all! So to finish a challenge means something to me.

It was a fun one too. I enjoyed so much reading fantasy, fantasy, and more fantasy. And not just any fantasy, but fairy tales and novels about fairies, magic, about the quest of the heroic self in literature and myth, and finally ending on sweet William Shakespeare. This is a wonderful challenge and I fully intend to do it again next year.

So, two reviews and I've reviewed everything in the challenge:
The Hero With a Thousand Faces by Joseph Campbell. I have put off reviewing this book because I don't have the words to describe how powerful it is to read. My copy (which is from 1954 and now falling apart) is bookmarked all the way through. I found so much that was rich with ideas about the myth of the heroic journey that was interesting and powerful. Campbell has taken a great many of the world's religions and myths from different cultures and analyzed them for the source and description of the heroic journey. He has mined fairy tales, folklore, primitive ( how I hate this word! 'first peoples', maybe?) people's myths - Native Indians, polynesians, Australian aborigines, Norse, Celtic, Indian, African, Chinese, Japanese. It is really an amazing book. And out of all these stories of transformation, because that is what is at the heart of the heroic quest (Campbell says), he has found the cycle of the heroic quest. The Call to Adventure begins the journey, Initiation is undergone, then the return to the world. The book takes this basic journey and divides the images it examines into two great cycles into which all fairy tales,myths, folktales and world religions - which he examines for the stories, the heroic quests embedded within the religions, not as a debate or question of the authenticity of the religion itself - but why we respond to it - into two main cycles, the monomyth cycle, which is the society the individual comes from and brings back the key of transformation back to, and the cosmogonic cycle, which the universal story of creation that world religions are created from. Many of the great stories of how the world was created are examined in this section, and it is fascinating to see how different some are to my western perspective, and how similar others are.

This is a fascinating compendium of myths. There are illustrations, poems, dotting the pages, so we have a visual context. It is not a dry book by any means: "But if we are to grasp the full value of the materials, we must note that myths are not exactly comparable to dream. Their figures originate from the same sources - the unconscious wells of fantasy......And their understood function is to serve as a powerful picture language for the communication of traditional wisdom." Or: "The helpful crone and fairy godmother is a familiar feature of European fairy lore.....What such a figure represents is the benign, protecting power of destiny."

This book has so full of myth and symbol that it will take several readings to absorb it all fully. It has helped me to understand myths and the role they play and why we need them, better. And that is the crux of this book: we need myths. We need fairy tales. this book explains why, what we get from them, and the dangers for a society when their myths lose meaning, as he says that our western society has been in for most of the 20th century. I think it explains why we need fantasy books and images now; some of our old myths that were cultural no longer resonate the same way because of cultural changes since the Industrial revolution, so we have to go back to the heroic quest and invent - if we can, or reclaim - myths and stories that come from deep in our souls. We need those stories to be told, or we die as a society.

I think this explains why the best fantasy is popular the world over, and why my fairy tales post (where i asked what everyones favorite fairy tale was) remains the most popular post (or the one with the most answers) so far: fairy tales live inside us, and they resonate long after we think we leave such things behind. Because, of course, we never do. The Hero With a Thousand Faces takes a look at why. I think it is a fascinating book, and i highly recommend it for anyone who wants to understand what makes fairy tales and myths work, and why we need them. So when someone scoffs at a dinner party, "why do you read fantasy?" our inner fantasy bookworm can reply coolly: "Tell me your dreams and I'll tell you where you are on your life's journey." At least after reading this book, you will have a good guess at where they fall on their heroic journey!

Now for A Midsummer's Night Dream. I had forgotten I'd read this for university until I began reading it. It suddenly flooded back to me, though I can't remember anything that we discussed back then, I recalled the story. It was a change to read this and not have to worry about taking notes, thinking about papers to discuss on Shakespeare's use of alliteration, verse, or the various couples, etc! It was so enjoyable to just read the play and let my imagination show me the forest scenes,which are so fun. Here is a quote that has some folklore in it (for the challenge):
Act 2, Scene 1:
line 33: Or else you are that shrewd and knavish sprite
Call'd Robin Goodfellow. Are you not he
That frights the maidens of the villagery,
Skim milk, and sometimes labor in the quern,
And bootless make the breathless housewife churn,
And sometime make the drink to bear no barm,
MIslead night-wanderers, laughing at their harm?
Those that Hobgoblin call you, and sweet Puck,
You do their work, and they shall have good luck."

This is the play that is the source of the immortal line : "The course of true love never did run smooth"(Act 1, scene 1, line 134)

Shakespeare also equates the fight between Tatiana and Oberon (the King and Queen of the fairy court) as the reason the spring has become wet and rainy and is ruining the crops: this links the fairy world with nature, with the countryside, and with the weather. Fairies are part of the world that we don't control, but which we are at the mercy at, and this play shows how easily people succumb to fairies: a little flower dust from certain plants is dusted on eyes, and suddenly characters are falling in love madly when they hated each other before! And the Queen of Fairies loves a man who is playing a donkey and becomes half a real one.....there is alot of sly humour in this play, digs at marriage, fidelity, the court, the law, and of course, true love. All the way through it, though there is Duke in the human world, it is the King and Queen of the fairies who have the real power, and the wisdom to recognize love that the Duke at first does not see.

Fun, and magical, and just the right way to end this challenge on the summer solstice. Happy longest day of the year, everyone! May a little good magic come into your life!

And, thank you, Carl for hosting this challenge.