The Dark is Rising Sequence, by Susan Cooper. Book 4.

Very Welsh, and feels right to me. Given that I spent a lot of my A-level science lessons looking out of the window at Cader Idris, if I’m happy with it then anyone should be.

I can’t find any Welsh spelling mistakes – though Welsh is a language with a lot of stratification and regional variation – and Bran’s Welsh pronunciation lesson to Will is pretty much spot on.

It does well on Welsh mythology, too; at one point, Bran and Will are asked riddles, the answer to which are Triads – Who are the three wise elders of the world?^[1] Who are the three generous men of the Island of Britain?^[2]

As far as plot goes, this one lives out the first prophetic verse we heard at the end of Greenwitch, and emphasizes very pointedly that the Light is Not Nice. Unpleasant things have to happen to good people, or the Dark will win and everyone will be vastly more unpleasant to each other. To be more specific, the Light has to do unpleasant things to good people, and there isn’t any mention in the text of alternatives being considered & rejected – the things the Light do are the right things to do because the Light did them. On the other hand, victory is by no means predestined^[3], so the idea of just treading out the predestined steps is a little problematic. Of course, it’s not the only problematic thing – it’s heavy on the “birthright” angle. Anyone trying to reach the plot coupon who wasn’t born to do so will be killed, and all that.

---

[1] The owl of Cwm Cawlwyd, the eagle of Gwernabwy, and the blackbird of Celli Gadarn. Oddly, the romance of Culhwch and Olwen lists five – the ouzel of Cilgwri, the stag of Rhedynfre, the eagle of Gwernabwy, the owl of Cwm Cawlwyd, and the salmon of Llyn Llyw.
[2] Nudd the Generous, son of Senyllt, Mordaf the Generous, son of Serwan, Rhydderch the Generous, son of Tudwal Tudglyd. And Arthur himself was more generous than the three.
[3] Well, except in the sense that we’re reading 1970s children’s fantasy.

The Dark is Rising sequence, by Susan Cooper. Book 3.

I remembered this one as being rather weak compared to the other three (obviously, I’m not counting Over Sea, Under Stone in here, because that’s by far the weakest of the five) but on re-reading it stacks up well.

Will Stanton, from TDIR, meets the three children from OSUS for their followup quest. The grail they found has been stolen from the museum, so they need to get it back and retrieve the leftover part – an extra scroll which was hidden inside the grail, and fell into the sea. Interestingly, there isn’t any arbitrary puzzle solving involved here – instead, Susan wins by going to the ancient local ritual of constructing the Greenwitch (a wicker effigy) and making an unselfish wish for her to be happy, whereupon the Greenwitch decides to help her and give her the plot coupon.

The Dark’s purpose for the Grail isn’t frustrated; instead, it gets characterized as something necessary but unexplained, which will ultimately serve the Light. There’s a lot of middle-book syndrome going on.

Interesting use of unsympathetic resonance: the Dark’s agent in this book is a painter, who does nasty, scary work… but it’s still good art, interesting and creative and Artistic. And it’s a spell (technically, three spells – the spell of Mana, the spell of Reck, and the spell of Lir – and the same three spells the Light were going to use) which Merlin had forgotten was possible.

By Susan Cooper. Book 2 in the eponymous sequence, and there are probably fewer similarities to Over Sea, Under Stone than there are differences. Luckily, nearly all the differences are improvements.

It’s a classic coming-of-age-into-magical-powers tale, as Will Stanton discovers he’s the last of the “Old Ones” (special magic immortal people) to be born, and that the “Dark” (an immanent power, not fully explained in this book, which seeks to do all the usual things) is about to try something really nasty.

It was rather a surprise to find that since I’d last read this, I’d been spending time in the setting – Buckinghamshire has changed a lot since it was written in 1973, but Windsor Great Park is still very much there. Unlike the first book, it’s very much at-home – magic changes the world, overlays a new mystery onto it (mostly through timeslips) but it’s still Will’s own home, bounded by Roman roads and running water, and still very English and very much a family story.

Whilst Will’s needed to save the world, this mostly seems to be a matter of arbitrary destiny rather than any particular skill or competence on his part, and the reasons for any given plot McGuffin are shrouded in myth. Which isn’t a bad thing at this point in the series! I have all five books here, and I’m making a point of not reading each one until I’ve written about the last; otherwise, I won’t be able to treat them separately at all.

The Dark Is Rising Sequence, by Susan Cooper. Book 1, and there’s a reason the sequence is named after Book 2 instead.

Yet another piece of Utterly Classic British Children’s Literature, this time published in 1965. Like The Weirdstone of Brisingamen, it features middle-class urbanized English children going on holiday and having Adventures – this time, in a fishing village in Cornwall, where they retrieve an ancient and incredibly important treasure. Said treasure was hidden 900 years ago, presumably by someone fleeing the Normans, and concealed by writing down a treasure hunt in two only mildly cryptic steps and then leaving the map in someone’s attic. It’s also part of the Arthurian cycle – they’re after a grail. (“What’s a grail?” “A kind of cup.”) It’s not just any grail, though – this one has all the stories of Arthur engraved on its panels. So it’s presumably not the Grail…

Everything was Planned, and Prophecy works out nicely; interestingly, though, we don’t get to see the prophecy. The archetypal White-Haired Guy (Professor Merriman “Merry” Lyon, who turns out to be the archetypal White-Haired Guy) protects the children while they get on with things, and then tells them afterwards that it was all planned that way and that History trusted they would be able to do it. There’s no overt magic involved, and the enemies do nothing scarier than kidnap one child from the middle of a carnival procession and then feed him lemonade and sandwiches. Oh, and Loom While Wearing Cloaks. (One’s a Hastings, interestingly – also the adopted name of a villain in Weirdstone.)

The first 30 pages or so get rather racist – the children go exploring through their rented house, and pretend they’re in the jungle. With “rude natives” surrounding them.

Simon: And I should have gone exploring into the interior and the rude natives would have turned me into a god and tried to offer me their wives.
Barney: Why would the natives be rude?
Simon: Not that sort of rude, you idiot, it means – it means – well, it’s the sort of things natives are. It’s what all the explorers call them.

That’s 1950s England for you… not that we stopped having those kinds of Educational Books for quite some time after that, of course. I still saw quite a few of them (second-hand, at least) growing up in the 1980s.

It’s not a bad book, but rather slight.

They soon left the village behind and were riding down a tree-bordered lane between fields. They talked of this and that, and the children were gradually accepted by Scamp, who came and thrust his head onto the seat between Susan and Gowther. Then, ‘What on earth is that?’ said Colin.

They had just rounded a corner: before them, rising abruptly out of the fields a mile away, was a long-backed hill. It was high, and sombre, and black. On the extreme right-hand flank, outlined against the sky, were the towers and spires of big houses showing above the trees, which covered much of the hill like a blanket.

A Puffin book, edited by Kaye Webb, with a cover illustration by George W. Adamson and a map by Charles Green, this copy makes a delightful physical object as well as a wonderful read. It’s Garner’s first novel, published in 1960, and grows like a short, sturdy tree from the Cheshire earth of his home.

I hadn’t read this for ten years or so, but everything came back quickly: Cadellin the wizard (I read this early enough that I can’t bring myself to use the Welsh pronunciation); Fenodyree, who’s always been one of the reasons I far prefer dwarves to elves; Durathror the elf-friend; the Lady Angharad, who lives on one of the Two Floating Islands of Logris; and Gaberlunzie the wanderer, who wears a broad-brimmed hat and rides an unusually fast and strong horse. The text, of course, doesn’t tell us who he is, but we can make a guess, and it isn’t King James V. (‘Gaberlunzie’ is a Scots word for a licensed beggar, probably from the gaberlaine coat they wore; the story is that James V disguised himself thus to walk amongst his subjects, just like Certain Other People did.)

It does show a distinct anti-industrialist bias, but that only places it more firmly in the mainstream of British fantasy of the era – the classic example is that the lios-alfar of Weirdstone did a Dymchurch Flit some centuries ago, into the highlands of “Prydein” (Scotland, rather than Britain, here) and Sinadon (Castell Caer Lleion near Conwy, not to be confused with Caerleon-on-Usk of Arthurian legend) and across the Westwater into the Isle of Iwerdon (Ywerddon is the Welsh for ‘Ireland’) because the noise and pollution were just getting Far Too Much for them.

The mythology and the place-names are a bit mix-and-match, but that’s part of its charm – Welsh wizards and Norse dwarves battle creatures from Norse and Irish mythology, showing us a well-worn layered history to the land. Almost none of the names are used much like their mythological antecedents, but I can’t bring myself to care. Speaking of names, of course, this novel does have one of the absolutely characteristic markers of early 20th Century British children’s literature – a Susan.

Unusually for portal-quest fantasy, the map in the front is very constrained in space – it covers an afternoon’s hike, mostly over gentle ground, rather than the leagues, weeks, months, kingdoms of most of these books. Gowther knows every inch of it, and we can tell the author does too, but he bears his earmarkings lightly and they never wear.