Le Morte D'Arthur | |||||
Thomas Malory (edited by John Matthews and illustrated by Anna-Marie Ferguson) | |||||
Cassell & Company, Sterling, 1056 pages | |||||
A review by William Thompson
However, Le Morte D'Arthur represents not only the first novel in English, but arguably the first
novel of fantasy. Its universal tale of love and betrayal, the striving for unattainable ideals amidst the
turmoil of human frailty, an earlier age at the threshold of profound change, has remain seated in the
imagination of successive generations, profoundly influencing a large and diverse number of authors,
artists and filmmakers, from the Pre-Raphaelites and Beardsley, directors as different as John Boorman,
Bresson and the crew of Monty Python, to writers as far distant in their outlook and intention as Twain,
Steinbeck, The Inklings and Michael Moorcock. Drawn from sources beyond the shores of England, while
often identified as a national story, this work in its resonance transcends the Matter of Britain,
and has inspired people knowing little of Britain or its history, evidence of the tale of Arthur's
court spreading to as far distant shores as the Middle East and even India long before the story
was set down in print. And even today, it seems as though hardly a year goes by that some author is
not reinvesting the legend in a contemporary work of fiction.
This is a book that deserves not only to grace the shelf of every serious
reader of speculative fiction, but to be read as well in its entirety.
Other editions are available, most notably that of Vinaver, with new versions being published
periodically. This version, edited by John Matthews, is only the most recent in a long
number. However, of editions published over the last several decades, not only is it unabridged
but perhaps the most lavishly produced in some time. In hardcover, with over sixty-two
illustrations by Canadian artist Anna-Marie Ferguson, divided evenly between black and white
line drawings and watercolor, this volume represents a "coffee table" version that
should sit beside that of Vinaver's Works or, if you can afford it, Pollard's Medici edition
or the Dent facsimile reprint complete with the illustrations of Aubrey Beardsley. Containing
a forward by Michael Moorcock, this edition is presented in a prose style, absent the line
annotation scholars may favor, but arguably more accessible to the average reader. Complete
with glossary and a table of contents providing a short chapter summary, this work is the
first to be presented with a modern typeface, and the editor acknowledges that he has corrected
certain long-standing and recognized errors and omissions. While some academics may quibble
over his choice of basing this version upon the Caxton edition rather than the Winchester
Manuscript, the editor addresses this issue in his introduction, and this choice should not
significantly impact the casual reader.
The only reservation I have, and it is a topic that has long been debated among Arthurian scholars,
thus my response being able to be dismissed as personal and representing only one side of the
issue, is the editor's reluctance to accept the traditionally accepted Malory as author of this
monumental work of fiction. The knight of Newbold Revel, Sir Thomas Malory, traditionally
believed to have written this work while languishing in prison for innumerable crimes that
included banditry and rape, has for some time offended the sensibility of some scholars,
who find it difficult to credit a criminal for having the ability or sensitivity to create
a work of art, or express some of the ideals or notions of nobility contained within this
book. While I believe life and history have shown that creative endeavors are not the sole
purview of enlightened or necessarily moral souls -- one need only think of Byron or
Gauguin for evidence to the contrary -- Malory's questionable past continues to disturb
certain academics, including John Matthews, and other choices for authorship have been
advanced. Though some, I among them, may believe such cavils to be pointless and ultimately
self-reflective, while presupposing a contemporary view of morality upon a removed historical
context, it is a debate that continues, and which the editor here addresses. For most I
imagine the argument will prove of little significance.
While not inexpensive, in terms of its presentation I would most highly recommend this edition
to anyone interested in either Arthurian romance or fantasy fiction. Cost has not been spared
in its production, and it is an edition that you will hold on to for a lifetime. Additionally,
should you wish to introduce this perennial tale to older children, this volume should prove,
with its lovely and copious illustrations, an excellent version which they will likely
treasure and keep as well. And finally, for those of you who only know the legend through
film or one of the many and seemingly endless contemporary retellings of the saga, you owe it
to yourself to read the original, and this edition is far more accessibly presented than
most. There is a reason why so many authors and artists are able to continually find
inspiration in and re-mine and capture the imaginations of new audiences from successive
tellings and reconstructions of this tale. You should turn to the original: you will likely
discover why.
William Thompson is a writer of speculative fiction, as yet unpublished, although he remains hopeful. In addition to pursuing his writing, he is in the degree program in information science at Indiana University. |
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