Astoundingly, a fresh take on an extremely well-trodden legend.
King Arthur is dead—what happens now?
Collum of the Out Isles has stolen armor and a horse from his local lord, hoping to be accepted as a knight of the Round Table. But when he arrives at Camelot, the place is nearly deserted; King Arthur and a majority of his knights have died in the battle at Camlann, leaving no clear heir. With the few remaining knights and the sorceress Nimue, Collum travels across the disintegrating nation and even into the fairy Otherworld, searching for a successor to the dead Arthur and marshaling forces against the rivals who seek Britain’s throne for themselves—including Morgan le Fay, Arthur’s enchantress half-sister, who claims that she is the rightful heir, but mostly acts as a chaos agent throughout, helping or harming the questers as seems best to her in the moment. As the book progresses, we learn the secret backstory of each of the surviving knights as well as the nature of the relationship between Lancelot and Guinevere, the apparent spark for the civil conflict (the truth, intriguingly, is not what you think). The story of King Arthur has been told and substantially altered many times over the centuries, and explored by a multitude of contemporary novelists, but the author of the Magicians trilogy makes room for himself here. The purposeful inclusion of anachronisms recalls T.H. White’s The Once and Future King, and the conflict between Christianity and pagan traditions is strongly reminiscent of Marion Zimmer Bradley’s The Mists of Avalon. However, very few writers have explored post-Arthurian Britain or focused quite so much on developing the stories of the minor characters in the saga—the transgender man Sir Dinadan; Arthur’s bodyguard, Sir Bedivere, secretly in love with his liege; Sir Dagonet the Fool, suffering from severe bipolar disorder; Sir Palomides, a highly educated prince of Baghdad whose not-so-secret passion for the lady Isolde keeps him in a primitive land that looks down on him for the color of his skin; and so on. This is not a realistic conjecture of how Britain would continue after the death of a charismatic leader who tried to institute new policies of standard law and justice. It’s a metafiction in which the survivors of a myth attempt to extend that myth as they contend with the inner demons of their pasts.
Astoundingly, a fresh take on an extremely well-trodden legend.Pub Date: July 16, 2024
ISBN: 9780735224049
Page Count: 688
Publisher: Viking
Review Posted Online: March 9, 2024
Kirkus Reviews Issue: April 1, 2024
PERSPECTIVES
PERSPECTIVES
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
SEEN & HEARD
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