Tales Newly Told

Volume 14 Number 2 Article 10 Winter 12-15-1987 Tales Newly Told Alexei Kondratiev Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Kondratiev, Alexei (1987) "Tales Newly Told," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 2 , Article 10. Available at: https://dc.swosu.edu/mythlore/vol14/iss2/10 This Column is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Bull, Emma. War for the Oaks Paxson, Diana L. The Paradise Tree. Zimmer, Paul Edwin. A Gathering of Heroes. This column is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol14/iss2/10 Page 48 MYTHLORE 52: Winter 1987 Tales Newly Told A Column by Alexei Kondratiev Emma Bull’s War fo r the Oaks (Ace, 1987) is, book this hybrid material would have been used for essentially, a book about elves and rock-and-roll. ludicrous or comical effect, it here serves to enhance, Knowing this much, we expect something satirical, per rather than mask, the archetypal power of the Other- haps a little strident, a parody of conventional fan world beings, the emotional situations are as soberly tasy, playing for laughs but hardly profound, and real as in a mediaeval romance, and the pattern and certainly light years away from the genuine experi spirit of the mythology are scrupulously respected. ence of Faerie. It is with delighted surprise, then, Purists might object that the fated withdrawal of that we find in this demented juxtaposition of themes Faerie from Eddi’s life does not in fact take place, a truly mythopoeic freshness, a means of depicting that the conclusion of the story seems like a case of the real beauties and perils of the Otherworld. There having one’s cake and eating it; but it wold come are plenty of laughs here, to be sure, but the charac across as psychologically wrong if Eddi — who, by ters face serious choices, tragedy can and does strike her choices and experience, has surely earned her a as a result, the gravity of the laws of Faerie is in no place in Faerie — should lose control over that side way diminished by the strangeness of the setting. of her life. All in all, the book is a little tour de force put together from the most unlikely elements. Emma Bull belongs to a remarkable "school" of Minneapolis fantasy writers that includes Steven With Diana L. Paxson’s The Paradise Tree (Ace, Brust, Will Shetterly, Phyllis Eisenstein, Ruth Berman, 1987) we have another urban fantasy, set this time in and Eleanor Arnason. She has displayed her compe Berkeley. It is in fact a "spiritual Thriller" in the tence as a fantasist in a number of short stories, but tradition of Charles Williams and Dion Fortune. Ruth none of it prepared us for the likes of this book. It Racusak, a rather lonely computer hacker, is trying to is, as far as genre is concerned, contemporary urban help her friend Ariel, a beautiful but psychically frail fantasy very much in the manner developed by woman, who has come under the influence of Joseph Charles De Lint, and uses Minneapolis as a half- Roman, a shabby guru who exploits his followers. realistic, half-fantastic setting in the same way De After partaking of the "Paradise Drug" — A super Lint uses Ottawa. But the human protagonists, far hallucinogen developed by a well-meaning but naive from having any "Celtic" cultural in terests that might lab technician — in an irresponsible experiment of facilitate their contacts with the otherworld, are Roman’s Ariel is shattered, forced to face aspects of immersed in the modern rock-music subculture. herself she had sou ght to rep ress. When Ruth would Instead of playing ethereal chords on harp-strings help her recover by removing her from Roman’s influ (though they do display a greater acquaintance with ence, a powerful secret organization of black magi the traditional folk ballads than the average rock cians steps in, seeking to gain control of the Paradise musician), They go for electric guitars and synthesiz Drug and to use Ariel as a psychic tool (recalling ers. Eddi McCandry, the heroine, is in the process of Betty’s role in All Hallows’ Eve). In the headlong breaking up with both her lover and her band when adventure that follows, Ruth receives the help of Del she dragged, very much against her will, into a war Eden, an older woman who runs an occult bookstore between the two kingdoms of Faerie, the Seelie court and is a white magician in the Dion Fortune manner. and the Unseelie court (who here seem to correspond Where in a Williams' novel only the evil characters to the Dananns and Fomorians of Celtic tradition). The would actually use magical forces, it is here shown presence of a human is necessary in a war between that the same forces can be used for good, if a pure immortals in order to give the events of the conflict conscience directs the operation. the final reality that only comes with mortal existence. If the Unseelie Court should win, Minneapolis would In the first half of the novel the descriptions of suffer a Fomorian blight, and become a joyless, hun Berkeley lack the vibrancy of, say, Emma Bull’s Min gry, cruel place. Eddi is put in charge of a phouka, neapolis, or the other Berkeley in Peter Beagle’s The whom she at first resents bitterly (not without cause), Folk of the Air, and the characters are a little too but then gradually comes to see as a person. When flat, too obviously "types" (a criticism that has been Eddi and her human friends put together a new band, levelled at Williams’' novels as well). But as soon as it is quickly infiltrated by elvish beings with the story moves into the inner realm, the realm of consequences at once amusing and poignant. Each archetypes and immortal powers, all the themes and character is given a fine-tuned ear for both dialogue figures suddenly come alive, and the author’s style and description. The war proceeds with its share of takes on a renewed assurance. The situations convey gore and terror, but the final outcome is decided a clear sense of what ceremonial magic is really about through music. It is a measure of the author’s skill how it works. There are scenes of diabolical tempta that I, a lukewarm rock fan at best, warmed instantly tion that have a Lewis flavor to them. The final show to her evocation of rock music as a healthy, life- down, in which the archangels are invoked to combat affirming power, a "good" magic. their demonic counterparts, has echoes of T hat Hideous Strength, but it transcends any such deriva Most refreshingly, Emma Bull's fairies are not tion and stands thrillingly on its own. This passage stereotyped icons lifted directly from folklore sources, contains, I think, Paxson’s strongest writing to date. but composite beings — immigrants in America, like everybody else — affected by their environment, so Also from Berkeley, through in a vastly different that they blend naturally with the setting. The queen mode we get Paul Edwin Zimmer’s A G athering o f of Air and Darkness, derives much of her glamorous Heroes (Ace, 1987), set in the same universe as The image from old movies (the mythic dimension of the Dark Border, and focusing on earlier adventures of new land, as it were). Yet where in a less remarkable continued on page 56 Page 56 MYTHLORE 52: Winter 1987 Bibliography 1927; London, Cape, 1928. (In order of appearance in the text of the article.) _____________: Dr. Dolittle in th e Moon. New York, Stokes, 1928; London, Cape, 1929. J.R.R. Tolkien: The Hobbit. London, Allen and Unwin, _____________: Dr. Dolittle’s Return. New York, Stokes, 1937; Boston, Houghton Mifflin, 1938. 1933; London, Cape, 1933. Arthur Ransome: We Didn’t Mean To Go To Sea. Lon John Masefield: The Midnight Folk. London, Heinemann, don, Cape, 1937; New York, Macmillan, 1938. 1927; New York, Macmillan, 1927. Eve Garnett: The Family from One End Street and _______________: The Box of Delights, or When the Some of Their Adventures. London, Muller, 1937; Wolves Were R unning. London, Heinemann, 1935; New York, Vanguard P ress, 1939. New York, Macmillan, 1935. Kate Seredy: The Good M aster. New York, Viking Barbara Euphan Todd: Worzel Gummidge or The Scare Press, 1935; London, Harrap, 1937. crow of Scatterbrook. London, Burns Oates, 1936. Noel Streatfeild: Tennis Shoes. London, Dent, 1937; New ____________________ : Worzel Gummidge Again. London, York, Random House, 1938. Burns Oates, 1937. L.A.G. Strong: The Fifth of November.

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