In the Shadow of the Oak King, a review

From the back of the book:

"The boy is Pelleas, bastard son of Uther the Pendragon. The smith is Myrddin, known as a sorcerer wise in countless arts. Through Pelleas' eyes unfolds the harsh, violent, surprising world of fifth-century Britain: a land torn by strife, struggling toward glory, and changed forever when a royal baby- Arthur- is smuggled to a remote island. There Arthur will be raised by Myrddin, Pelleas and the enchanting child Nithe... until it is time for him to pull the sword from the anvil, taking his place as king of the Britons..."

I have read a lot of Arthurian retellings. Whatever your thinking is "a lot," probably add to that. I've never counted it up, because I can't even remember them all. It's a lot, though. Have you seen that internet theory that every girl goes through a phase where she's really into Greek, Roman or Egyptian mythology? I went through a King Arthur legends phase.

Some retellings are better than others, as with anything. I have some favorites and some that I really, really didn't like. In the Shadow of the Oak King by Courtway Jones has always stood out to me for one, main reason. While most retellings really lean into the magical elements, Courtway Jones pulled away from it. As an opening premise, that wouldn't sound great, but it actually made the story breath is a new and interesting way. Go there with me for a minute.

Merlin, instead of a mysterious, wizardly type, is an advanced blacksmith. The Sword in the Stone was a clever smithing trick, not magic. The Lady of the Lake who gives Arthur Excalibur was a woman who was an excellent swimmer, entering the lake from a cave with a secret entrance. Arthur, instead of being a brilliant and/or magical prodigy of governance, is a young man who grew up with excellent advisors and enough physical charm to win the common people.

Very different from the magical retellings I've read otherwise. But interesting.

So is it a fantasy story? Well, I think so. There is a somewhat mysterious race of beings called "geens" in the story that, as far as I can tell, is entirely fictional. That's one example of the "fantasy." More than that, I think the fantasy lies in the world created. Sure, there really were Saxons and Britons and Picts. However, the particular mix of cultural clashes, the idyllic respites on islands with pseudo-Romans and the harsh winters in Pictish huts with woad-dyed women are, maybe, more wishful than factual. The truth is, that far back into the Dark Ages, we just don't know a ton about their daily lives for it to be anything more than a guess.

In the Shadow of the Oak King was published in 1991. It is the first of the Dragon's Heirs series, followed by Witch of the North (1992), and A Prince of Camelot (1995). In 2015, he released a sort of sister novel called Malory: The Green Knight. There isn't a lot of information available on the ole' world wide web about Courtway Jones himself. The book itself contains an introduction from the author, in which he mentions that he was a retired anthropologist and community developer when he decided to tackle Thomas Malory's version of the King Arthur legend for himself. I'm very happy he did. The results of his work are excellent.

The writing in this book is top tier, in a way that is not common to books of today. That's not to say that you don't get good prose now, only that it is different. Now, books tend toward first person narratives in which we, the reader, are inserted into the mind and body of the main character. There is little mystery about the main character's thoughts or emotions, because we are experiencing them right along with the character. However, pick up any general fantasy book from the 1990s, and you are unlikely to find that, er, intimacy. Instead, you get a lot of third person stories in which you must judge for yourself what the character might think or feel based on their dialogue and actions. It is a different kind of beauty, and I'm happy to read both.

Pelleas, the main character, is a Pict of unusual size (later identified as the mysterious geen race), who starts the story as an 11-year-old boy who does not know who his father is. He is only called "Dog's Brother" because proper names aren't given until they reach their eighth Samhain. Dog's Brother dreads it, because he has been chosen as the child sacrifice for the Oak King, a terrifying god-spectre that eats children. The Oak King is a threat that looms over him for the rest of the book.

Instead of being sacrificed, he is rescued (in a frankly horrific way) by the itinerant blacksmith, Merlin, and his young ward, Nithe. Thus begins his life as Merlin's apprentice. They eventually acquire a blonde child, which they name Bear. Bear, upon gaining some age, declares that he no longer wants to be called "Bear," but instead will be known as "Arthur." Pelleas is an older brother to young Arthur, his supporter and defender. Pelleas is there when he pulls the sword from the stone, and again when he gains Excalibur. Pelleas is there when Camelot is built, and when he acquires the famous round table. He is a witness to the classic story, but he has his own story as well.

Pelleas's story is about finding his place amongst his own people. The Picts are looked down on, and Pelleas fights to make a home for them within this new world. He becomes their High King, with a lot of reluctance. He would much prefer to be blacksmith and mind his own business. Poor Pelleas, fate just won't leave him alone.

If you have ever looked on some of the maps of merry old England a felt confused about the number of tribal groups, and the ever-changing borders of each group, this book will make it better and worse. You feel that you get to know the different groups, the naming conventions, the ethnic identities (and the bathing routines, as Pelleas likes to point out "I was glad I was not a Gael, who have to bathe every day." Ha!). At the same time, you feel somewhat overwhelmed by them. How could Arthur hope to sort them all out? Like Pelleas, you might prefer to return to your own people, on some out of the way island, and leave the mess to Arthur.

Over the course of the book a number of difficult issues are discussed and even witnessed by the main character, from child sacrifice, death of a loved one, racism and even a bit of homosexuality. There is sex and war and death and appalling affronts, all viewed from Pelleas's rather broad shoulders. However, while I am extremely particular about this kind of content in a modern book, I found I could get through it in this one with little trouble to my conscious. I think it has to do with that level of intimacy. You aren't experiencing all of the feelings and thoughts and sensations of every horrific scene. Instead, you are a fly in the room, sliding over top of it all. You know what's happening. Pelleas addresses it, generally in a way that would satisfy the morals of a modern person, without the content actually feeling traumatizing to the reader. Still, at the end of the day, the first section of the book is about child sacrifice, and that might be too much for some readers, no matter how distanced they are from the experience.

I love this book. It's excellent writing and fascinating history all rolled up in a very digestible story that will stay with you long after you close it. I read this the first time years ago, and would find myself thinking about it at various times even years later. Re-reading it this month, I found that it had not dulled in impact. It's still a great story. If you are a fan of Arthurian legends, or of historically influenced fantasy, or even just a fan of that particular kind of fantasy prose that doesn't get written much anymore, this book is for you. At the end, I longed to go to Ector's Island and remain with the characters myself. Despite the difficult subjects, it ends in peace. Isn't that where we all hope to end up?

I have an aged mass-produced paperback copy of In the Shadow of the Oak King. You can find the page to buy it here.

Here are some links to other places to buy this book:

Thriftbooks

Better World Books

Ebay