fantasy

The Children of Green Knowe, by L. M. Boston

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Seven-year-old Tolly’s father and stepmother are in Burma, so he usually spends holidays at his boarding school. However, this December he’s off to live with the great-grandmother he’s never met, traveling by train through flooded fields in East Anglia. An imaginative child, he wishes it were the Flood and his destination the Ark.

He’s not far wrong. After a perilous journey by taxi through the watery landscape, Tolly—his full name is Toseland—is saved from having to swim to the house by the arrival of Mr. Boggis in a rowboat. The house, originally known as Green Knowe, is now called Green Noah. Tolly’s family has lived there for over 300 years, and there has always been a Mr. Boggis who works there.

The room seemed to be the ground floor of a castle, much like the ruined castles that he had explored on school picnics, only this was not a ruin. It looked as if it never possibly could be. Its thick stone walls were strong, warm and lively. It was furnished with comfortable, polished old-fashioned things as though living in castles was quite ordinary. Toseland stood just inside the door and felt it must be a dream.

While his great-grandmother is immensely old, she hasn’t lost that sense of the mysterious world that flickers just behind our ordinary surroundings. She tells Tolly of three children who used to live there in the 17th century, teaches him to summon the birds, and inspires him to listen for the hoofbeats of the great horse Feste who belonged to one of the children.

Lucy Boston wrote this delightful middle-grade story for her own enjoyment after she bought a home in 1939 in Cambridgeshire. As she restored the house and gardens, they became the setting for this story and four others. Lucy’s daughter-in-law now lives at the Manor at Hemingford Grey, and opens the garden to visitors year-round, while tours of the house are available by appointment.

Encountering this tale for the first time is an enchantment of its own. Slowly, ever so slowly, the other world begins to manifest itself: a marble rolls across the floor of its own accord, voices seem to whisper in the garden, sugar lumps disappear from the ancient manger in Feste’s stall. Reading it, I felt like a child again, the child I once was, who believed it was just possible that maybe that shadow in the trees was actually . . .

After thoroughly enjoying the book, I came back to it as a writer, appreciating the way moments of magic creep up on the reader until the entire story seems perfectly plausible. Tolly’s adventures are punctuated by his great-grandmother’s tales of each of the children, the statue in the garden, the topiary creatures in the garden, and so much more.

Similarly, the author balances and metes out the scary side of magic, from Tolly’s anxiety at the very real flooding at the beginning, through the tingle of fear that edges each fleeting magical moment—how can this be real? And how to hang onto it?—to where terror begins to creep in.

I loved the way the house and stables and gardens are used, their realistic details enchanting in a more mundane sense. And Boston uses the natural world throughout in an unforced way to create mood and theme and adventure, not just the gardens, but floods and snow and birds. Remarkable.

I wish I’d read this as a child. First published in 1954, it is of a piece with others books I loved then, like The Secret Garden and The Diamond in the Window. Now I have to try to find the other four Green Knowe books.

The books we read in childhood often stay with us. What magical story from childhood do you remember in this season?    

The Lathe of Heaven, by Ursula K. Le Guin

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I read a lot of science fiction in my teens, mostly because my older brother was into it and let me raid his library. Then I read a lot of scifi/fantasy in my late twenties; I was in a difficult place and wanted to be anywhere else. It helped. So during this tense and terrifying week, I returned to that strategy. It’s been long enough that those books are ripe for rereading.

This 1971 novel begins with a man waking up amid fallen concrete blocks feeling dizzy and nauseated. Eventually a medic brings him around, shocked by how many different meds the man had taken.

George Orr has been taking multiple medications to keep himself from dreaming, because his dreams come true—literally. Not all of his dreams, but now and then he has what he calls an “effective” dream and when he wakes, the world has changed to conform to that dream. And he is the only one who knows that has happened; he is the only one who remembers the way the world was before.

As a result of his overdose, he is sent to Dr. Haber, a psychiatrist working on a machine similar to an EEG that can control the type of waves in a patient’s brain to induce dreaming. Over the course of the book Haber uses his machine coupled with hypnotic suggestion to try to instigate and control George’s dreams. But the effect is usually unpredictable and sometimes catastrophic, because dream logic comes up with its own way of implementing Haber’s directions.

One constant, though, is that with each dream Haber gets a promotion and more power. He claims he only wants power in order to help people by solving the terrible problems in society. But Haber’s vision of an ideal society is a little scary given his belief in utilitarianism and eugenics. Haber’s ability to implement his beliefs using George’s dreams combined with his own insatiable hunger for power and fame drive the world down a dangerous path.

We writers are advised that, along with hooking the reader’s attention, we should use the first page to teach the reader how to read our book. Make sure they know what genre it is. Identify the protagonist, their goal, and what or who is preventing them from achieving it. Give at least a hint of what themes will be explored. I have to say that rereading the first page of this book after finishing it changed the story for me and filled me with awe at Le Guin’s mastery of the craft.

What’s also interesting is how much Le Guin is able to explore different philosophies and approaches without slowing the story. In my workshops we’ve been talking about generating suspense, and she has definitely crafted a page-turner. George’s dreams and the new world each creates are fascinating. And often destructive, to the point where one wonders how this world can possibly survive.

Well, out of the frying pan, as my mother used to say. It felt like the story of the last four years, right from the first page: waking up to an unrecognisable world, one that has changed in catastrophic ways. Still, I’m glad I read it this week. And now things have changed again. Someone has had a good dream.

Do you read scifi/fantasy? Why?

Kindred, by Octavia E. Butler

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I’d heard so many good things about Butler’s work, and especially this early (1979) stand-alone novel of hers, and I was not disappointed. I was a little surprised, because it was not the science fiction novel I expected, given that is how it is classified. No matter. I was entranced and changed by the story it actually tells.

Kindred is the story of Dana, a modern-day woman of color who is mysteriously transported back to a pre-Civil War slave plantation. Not only is Maryland’s Eastern Shore a far distance from her home in Los Angeles, in time as well as miles, but it is a shockingly unfamiliar culture.

She sees a young red-haired boy who is drowning and rescues him. Apparently, she has been drawn back by Rufus’s fear of dying. She continues to move between the past and present, something neither she nor Rufus has conscious control over. Time moves faster in the past, so she encounters Rufus at different ages. Dana’s white husband Kevin also gets drawn back with her at one point, and his experiences highlight how much Dana’s changed status is due to her gender as well as her skin color.

What is astounding in this book is the way Dana comes up against the small and large ways that life is different for her in Rufus’s world. No matter how much I’ve read of histories and novels and slave narratives, no matter how many museums and former plantations I’ve visited, nothing brought home to me the live of a slave the way Dana’s experience does.

Why? Partly of course that’s due to Butler’s extensive research. Even more, it’s due to her vivid writing—the strong characters, the plot that never stops, the high stakes, the familiarity in her use of slave narratives as story structure.

But most of all it’s because Dana is me. The differences in our race and cities mean nothing compared to our common culture. Experiencing the indignities, injustices, and downright torture of that life through Dana’s frame of reference opened my eyes in a new way to the abuses of slavery. Here is a woman who expects to wear pants, be able to read a book and write a letter, speak up for herself and demand justice, even to go where and when she pleases. Deprived of all that, powerless, considered property, something less than human, without even the survival mechanisms other slaves have learned, Dana must find a way to endure her trips back in time.

There are many lessons here for fiction writers. One is the use of voice. Dana’s modern-day narrative voice reinforces the connection with the reader while emphasising how far away she is from the time of slavery. This is starkly apparent when she is forced to put on a slave-voice to protect herself.

Another is not only the importance of research, but how to use it effectively. It is clear that Butler has done her research well, not only into antebellum plantation conditions, but also into slave narratives and historical accounts of slavery. Yet, she employs that research lightly, including details only as appropriate for plot and character. For example, at one point when she’s back in Los Angeles, Dana throws away her books on African-American history because she now sees the flaws and gaps in their depiction of slavery. I expect Butler could have listed texts and quoted examples, but wisely refrained.

Yet another lesson is for fiction writers looking for a new way to write about a common theme. I think of it as the what-if game. What if you took a classic western and put it in a different setting, maybe outer space? You might come up with Firefly or Star Wars. What if you took a classic vampire story and used a different—even implausible—protagonist? You might have Buffy the Vampire Slayer or Twilight. What if you took one of your own experiences and gave the protagonist different characteristics from you (good, bad or both) or a different time period or a different culture? How might that story play out?

Or you can use the tropes of science fiction/fantasy genre to explore modern-day problems by taking them out of the modern day. That is what Margaret Atwood did in her classic The Handmaid’s Tale. And it is how Octavia Butler shows us that, instead of papering over them, we in the U.S. must confront the ugly crimes of our past in order to move forward.

Have you read any of Octavia Butler’s books? What did you think of it?

The Night Circus, by Erin Morgenstern

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Judging by reader reviews, this is a book you love or hate. It is the story of a circus, one that “arrives without warning” and whose tents and even the ground around them are black and white. No other color intrudes.

I should have been warned right there.

The point of view is third-person omniscient, meaning that the story is told from the perspective of a distant and unnamed consciousness who knows everything that goes on in people’s hearts. Thus we enter the minds of no less than fifteen characters.

The two main characters are Celia and Marco, whom we first meet as small children who have come under the care of two magicians. These two father figures, whom we later discover are fantastically ancient, profoundly disagree about the place of magic in the world and long ago devised a competition to prove their respective points. In this round, Celia and Marco will be their proxies and the circus their gameboard.

After a long introductory section devoted mostly to their training, Celia and Marco begin devising magical attractions for the circus, aware that they are competing (though initially Celia does not know with whom), but not what the stakes are. We know that they couldn’t be higher. Of course, the two young people fall in love, just to make things harder.

There is much that I loved about this book. The circus attractions are astoundingly creative: a pool of tears where you drop in a stone to leave your grief behind, a cloud maze where you climb “a series of platforms swooping in odd, diaphanous shapes, quite similar to clouds” and jump from them without injury. And each contains an element of emotional truth about our humanity, reminding me of Italo Calvino’s Invisible Cities. For example, another character, Widget, creates a tent of bedtime stories, full of tables and shelves stocked with all sizes and sorts of bottles. When you uncork one you are enveloped by a mixtures of scents:

The scent that wafts from it is the unmistakable smell of the ocean, a bright summer day at the seashore. He can hear the sound of waves crashing against the sand, the cry of a seagull. There is something mysterious as well, something fantastical. The flag of a pirate ship on the far horizon, a mermaid’s tail flipping out of sight behind a wave. The scent and the feeling are adventurous and exhilarating, with the salty tinge of a sea breeze.

The magic is presented so matter-of-factly that it’s easy to accept, even as another part of your mind suggests that, to a boy, simply the smell of the ocean can evoke memories of Peter Pan.

Another thing that I enjoyed, though it took until almost the end of the book for me to appreciate it, is Morgenstern’s intricate plotting. She weaves together the stories of many characters and multiple timelines, inserting clues whose significance only becomes clear much later.

There is also much that I hated about this book. Those multiple timelines had me forever flipping back four or five chapters to understand how they fit together. Just one of these timelines had anything distinctive, a character named Bailey who only shows up in the most distantly future timeline. The others had the same characters doing similar things but back and forth in different years. Looking back, I can see how this way of organising the material enabled Morgenstern to unfold her story in an important way, but as I was reading, it was confusing and downright annoying.

The pace is mostly excruciatingly slow, especially in the beginning. I was quite bored and came close to giving up.

Worse, the characters are flat. They are good or bad. Period. Marco and Celia have no inner life, no goal other than the game imposed on them by the two evil magicians. Marco and Celia are so unrealistic as to be not even human—seriously, what teen would put up with the abusive training regimes their mentors devised for them? None of the other characters have much more to them, though at least they have interesting quirks. Only Bailey, whom we get little of till the end, has any inner life.

My opinion shifts, though, when I consider the book through the filter of Angela Carter’s definition of a tale: something not reflecting everyday experience, drawing on fairy tales and the unconscious rather than placing the reader in the experience of realistic characters. We don’t expect Hansel and Gretel to give dramatic monologues about their internal conflict. In fact, I see Carter’s influence here, though not acknowledged beyond a book written by a character mentioned once with the title of Carter’s novel, Nights at the Circus. I also see the influence of Ray Bradbury’s stories of dark circuses and carnivals.

As a novel, I would say this book deserves all the one- and two-star reviews it has gotten on Goodreads. As a tale, though, it earns the equally many four- and five-star reviews. Although a bit slow, it makes a fine tale. And you have the added delight of the imaginative attractions, whose descriptions are like gems scattered through the story.

Have you read a story that you consider more of a tale than a novel?