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• Published on: 1961
• Binding: Unknown Binding

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[O248.Ebook] Free PDF The Stalin Epigram: A Novel, by Robert Littell

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Based on a riveting historical episode, The Stalin Epigram is a fictional rendering of the life of Osip Mandelstam, perhaps the greatest Russian poet of the twentieth century -- and one of the few artists in Soviet Russia who daringly refused to pay creative homage to Joseph Stalin. The poet's defiance of the Kremlin dictator and the Bolshevik regime -- particularly his outspoken criticism of Stalin's collectivization rampage that drove millions of Russian peasants to starvation -- reached its climax in 1934 when Mandelstam, putting his life on the line, composed a searing indictment of Stalin in a sixteen-line epigram and secretly recited it to a handful of friends and fellow artists.

Would Stalin and his merciless state security apparatus get wind of this brazenly insulting poem? Would the poet's body and spirit be crushed under the weight of the state if they did?

Narrated in turn by Mandelstam himself, his devoted wife, his great friends the poets Boris Pasternak and Anna Akhmatova, along with vivid fictional characters, The Stalin Epigram is the page-turning tale of courage and the human spirit told in deftly poetic prose by a perceptive, talented writer. With the benefit of extraordinary research and an almost mystical empathy, bestselling author Robert Littell has drawn a fictional portrait of the beleaguered poet struggling to survive the running riot of Stalinist Russia in the 1930s. This memorable novel culminates in a wholly unexpected encounter that illuminates the agonizing choices Russian intellectuals faced during the Stalinist terror and explains what drew Robert Littell to the poignant subject in the first place.

• Sales Rank: #935181 in eBooks
• Published on: 2009-04-24
• Released on: 2009-05-12
• Format: Kindle eBook

From Publishers Weekly
Starred Review. Veteran espionage novelist Littell (Vicious Circle; The Company; etc.) trades cold war spies for interwar Russian poets in his wonderful new novel. In 1934, real-life poet Osip Mandelstam struggles to get published in the totalitarian state. A battered idealist who has witnessed his share of Stalin-orchestrated horrors, Mandelstam feels writers have an abiding responsibility to be truth tellers in this wasteland of lies. Much to the despair of his fellow poets, Osip writes an epigram likening Stalin to a ruthless killer, leading to Osip's arrest, brutal interrogation and exile. The robust narrative employs an array of narrators, including Osip's devoted wife, Nadezhda; his disloyal lover, actress Zinaida Zaitseva-Antonova; and Stalin's personal bodyguard, Nikolai Vlasik. The most intriguing voice heard is that of Fikrit Shotman, a weightlifter turned circus strongman who shares a cell with Osip and whose journey from Moscow prison to Siberian gold mine perfectly captures the absurdity of life under tyranny. Littell is unflinching in his portrayal of Osip's tragic arc, bringing a troubled era of Russian history to rich, magnificent life. (May)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Critics agree that The Stalin Epigram is a powerful novel. Littell, who met with Osip’s wife in 1979 and recorded the story of his imprisonment and death, tells a harrowing, almost absurdist tale of imprisonment, exile, and death in the Soviet state. Turning from his Soviet spy thrillers, Littell provides an impeccably researched historical backdrop, and his multiple perspectives offer a full picture of the era’s emotional and physical horrors. The strength of the book lies in Littell’s command of the brutalities of Stalin’s regime.
Copyright 2009 Bookmarks Publishing LLC

From Booklist
Russian poet Osip Mandelstam once said Russia is “a country where poetry is respected—people are killed for reading it, for writing it.” Sadly, he was correct. He died in a Siberian gulag in 1938, one of millions of victims of Stalin’s terror. Littell, best known for espionage novels (The Company, 2002), turns to historical fiction by telling Mandelstam’s story through the eyes of the poet’s wife, Nadezhda, and various others, including writers Boris Pasternak and Anna Akhmatova. Littell begins the story in 1934; Mandelstam is famous but impoverished because publishers are now afraid to release his work. His only powerful patron, Bukharin, has been banished from Stalin’s inner circle. He assumes his arrest is imminent, and he writes “The Stalin Epigram,” a 16-line poetic attack on the dictator’s brutalities. There is an awful beauty to Mandelstam’s story as Littell tells it. The characters are trapped in a country gone mad, yet they strive to maintain their humanity. Historically accurate and filled with period detail, this is both a tragic and life-affirming novel. --Thomas Gaughan

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11 of 11 people found the following review helpful.
Survives on the strength of its writing
By Dan Berger
What fascinates me about Robert Littell is how different his books are from one another. "The Company" was a spy saga, the best spy novel ever written. "Walking Back the Cat" was completely different, shorter and lighter. "The Once and Future Spy" had an entire story-within-a-story about Nathan Hale.

With "The Stalin Epigram", Littell leaves the espionage genre. This might be a historical novel, but I really think it's just a novel - one above genre, one that survives on the strength of its writing rather than by following any formula.

The novel is based on a true incident. Leading Russian poet Osip Mandelstam, already out of favor with Stalin's Communist regime and scraping to survive, wrote a 16-line poem, or epigram, directly attacking Stalin in 1933, after having seen, from a train passing through the countryside, the effects of the collectivization famine-genocide the Bolsheviks had visited upon the Ukraine.

The poem was essentially his death sentence. He escaped initially with four years internal exile which, along with his interrogation, broke his health and sanity, but was rearrested shortly thereafter and sentenced to a Siberian labor camp which proved to be the death sentence intended. He died in 1939.

I was initially wary of a book about poets, but Littell keeps it moving and I flew through the pages. Littell uses an unusual structure to bring to life this episode, which deserves to be better known in the West than it is. Each chapter is seen through the eyes of a different character close to it - Mandelstam himself; his wife Nadezhda; his friend and fellow poet Anna Akhmatova; an actress and mistress who turns Mandelstam in out of fear; Stalin's bodyguard; a weightlifter imprisoned at the same time who becomes Mandelstam's cellmate; and the like. Littell does well with the different voices - the peasant simplicity of the weightlifter, the poetic sensibility of Akhmatova and Mandelstam, the warmth and trepidation of friend and writer Boris Pasternak; their Slavic romanticism; and the political fear that pervades them all as the Communist terror grows. A mordant humor present in many of them keeps the book from being too overwhelmingly depressing, although the subject matter otherwise would and should be.

And Stalin himself: we see him justifying the terror as an advance purge of potential Fifth Columnists who might aid the Germans in the event Hitler invades, and holding in contempt what he sees as the weakness of the intellectual faction dominating the Old Bolsheviks - people too weak, in his mind, to do the dirty work a thorough social revolution entails. (Unlike someone of peasant roots like himself.)

The bones of the story are factual, mostly. Littell does a grand job imagining the conversations and providing the mood and detail - how people go into exile, how interrogations worked, and what life was like in the labor camps of Siberia.

Stalin's terror ought to be revisited by fiction writers again and again, particularly now, as so many records and memoirs have been released granting foreigners and latter-day observers far better factual information. Littell has done a grand and principled job in writing this book.

3 of 3 people found the following review helpful.
I loved it!
By pushkins
This book was absolutely tremendous. I heard about in an NPR review and decided to give it a try.

Mr. Littell did a wonderful job creating the tragic, romantic, intense and frightening world these poets, some of the world's greatest, endured. He incorporated anecdotes that I remember from Nadezhda Mandelstam's Hope Against Hope, but made the material his own. He portrayed the poets as the artists they were and also as well-educated, sophisticated city dwellers almost completely at odds with their savage times. His use of frequent quotations from Mandelstam's, Akhmatova's and Pasternak's poetry serves as a aid to understanding the context of their work. one Mandelstam poem I remember begins "I returned to my city (Petersburg), well-acquainted with tears". After having read this novel, in which Mandelstam briefly returns to Petersburg after his years of internal exile, this poem has more resonance for me.

I also enjoyed the sweet, comic character of Shotman, who seems to have wandered in from an Ilf and Petrov novel to take up residence here. his ability to cope with the extremes of Soviet life was a relief from the sufferings of the other characters.

I recommend this book, and the poetry of the characters, most highly.

0 of 0 people found the following review helpful.
A fascinating subject, a sometimes awkward book
By Esquilan
The story of the poet Mandelstam in the 1930s and of his relationship with Stalin is certainly fascinating and well worth telling. The narration in this book is clear, with a good choice of episodes and points of view, and a reasonable pace. The author brings much interesting information into a coherent and well-written story.

However, I do not find the book very convincing when it comes to imagining intimate details about the main characters and their psychology. I am under the impression that the author's command of the Russian language and history is not quite deep enough for the level of detail he describes. Although this is mostly a subjective impression of mine, let me cite two remarks which contribute to this impression. First, the author insists on the Georgian origin of the term "khozyain", which is used to describe Stalin. However, this is the common Russian word for "master". (See Tolstoi's short story, "khozyain i rabotnik".) Second, the author attributes to Stalin the almost superhuman power of predicting the forthcoming war with Germany.

The reader would certainly enjoy the book more if the picture was more credible down to the small details. Nevertheless, although I did not believe everything, this was a good read.

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• Sales Rank: #6193523 in Books
• Published on: 1982
• Format: Import
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 320 pages

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0 of 0 people found the following review helpful.
Five Stars
By kwb
Gift for husband - says it's brilliant

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• Sales Rank: #3638819 in Books
• Number of items: 1
• Binding: Hardcover

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• Plumbing Engineering

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• Sales Rank: #181866 in Books
• Color: Tan
• Published on: 1998-06-17
• Original language: English
• Number of items: 1
• Dimensions: 8.20" h x .80" w x 5.50" l, .92 pounds
• Binding: Paperback
• 320 pages

Features

• ISBN13: 9780393317763
• Condition: New
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Amazon.com Review
In this, the first volume in Michael Reynolds's five-volume biography of Ernest Hemingway, he freely mimics Papa's writing style; pastiches such as the following can test even the most persevering reader's limits:

There had been things to prove to himself. Now they were done. There had been a job to do in Toronto. Now that was done. He had done the job. He had made his own way. His stories had sold to the Toronto Star. Not the stories of Italy, but newspaper stories. The real stories all came back to him. That did not matter. He had settled the question of who he was. He was a writer. When people asked, that is what he told them. If he stuck to his story, it would become true. Now he was almost home at the lake and it was summer. He was there, in the good place. He was still free. He would try not to let anything spoil the summer.

The biographical narrative itself deals chiefly with three years of Hemingway's life, from his return home in 1919 from the First World War to his departure for Paris with his first wife, Hadley, in 1921. Along the way, Reynolds uses Hemingway's conflicts with his parents over his future as an opportunity to probe into the family's past, providing rich detail on his father's depressive condition and his mother's struggle for independence. Reynolds also provides plenty of background on Hemingway's boyhood home of Oak Park, Illinois (although a brief prologue that concerns itself chiefly with the town's politics and mores is made somewhat superfluous by re-addressing the same subjects in the main narrative). While The Young Hemingway is not the best of Reynolds's undertakings from a stylistic standpoint, and probably not the most interesting period of its subject's life, Reynolds establishes a standard for detail--and restrained psychological interpretation--that is kept up throughout the series. --Ron Hogan

Review
“Informative and entertaining.” (New York Times Book Review)

About the Author
Michael Reynolds was a professor of English at North Carolina State University and a finalist for the National Book Award for Young Hemingway. His other works include Hemingway: The Paris Years and Hemingway: The Homecoming.

Most helpful customer reviews

0 of 0 people found the following review helpful.
A great book on Hemingway.
By Scott J. Rossi
A great book on Hemingway by the late Michael Reynolds.

9 of 9 people found the following review helpful.
PROBABLY ONE OF THE BEST HEMINGWAY BIOGRAPHIES SO FAR...Love the way this author discusses Hemingways literary issues.
By D. Blankenship
Of all our American authors, Earnest Hemingway is the one that probably has more biographies with his name on them than any other. As one reviewer has pointed out, as of this writing there are well over 70 biographies and endless books which I classify under "I knew Hemingway when......." If you want to study or are interested in Hemingway the man, and in this case, Hemingway the writer, then you have plenty of works to choose from. Almost all of these biographies are of one volume with Carlos Baker's, `Earnest Hemingway: A life Story' leading the pack and of course the work by A.E. Hotchner, which is a good work but Hotchner was such a Hemingway worshiper that some of his work can be called in to question and doubt, if one desires to do so.

The work being reviewed here by Michael Reynolds, "The Young Hemingway," is the first book of five volumes and the reader must be aware of this fact. While the book is fine as a stand-alone, it never-the-less tells only a small part of the full story. I feel, and this is strictly a personal opinion, that for a single volume work the one by Carlos Baker is the best. For a multivolume work, Michael Reynolds really has little competition.

This work covers Hemingway's early life, actually a three or four year period from his graduation from high school up until the time he marries Hadley Richardson, his first wife, and they depart for Paris. There are several factors in this work that distinguish it from the many other biographies.

First, this is a more scholarly work than we have been treated to in the past, yet at the same time Reynolds have given us a very readable work which could almost be classified as a page turner. His research is meticulous and when the author speculates he is the first to point this out. This is not what you would call a "popular history," yet in many ways it reads like one.

Second, Michael Reynolds quite likely has a better grasp of Hemingway's writing than any of the other biographers. He has the ability to analyze Hemingway's work, its source, its inspiration and its goals. Each step of the way as Hemingway develops and matures into what he finally became is closely examined and the whys and wherefores are covered better than anything I have read thus far. Now I grant you that I was impressed by this and there is a strong likelihood that I was personally influenced simply because Reynolds validates many of my own thoughts on the subject. Again, this is a personal thing and many may view it differently. That being said, it would be difficult to refute most of what Reynolds has written.

Third, the author has uniquely used, from time to time, Hemingway's own style of writing to tell Hemingway's story. At times the reader will wonder if Hemingway or Reynolds did the actual writing. I personally got a kick out of this. Reynolds has Hemingway's style nailed perfectly.

Forth, the author very seldom falls back on the cheap gossip which abounds around Hemingway's early life while being raised in Oak Park. There were a couple of notable exceptions to this where the author has addressed the gossip and builds a very good case in dispelling the rumors and innuendos, the primary one being related to the possibility that Hemingway's mother had a long term lesbian relationship with a young lady who was her companion, housekeeper and nurse for the children. On the other hand, the author does acknowledge that while this was quite likely far from the truth, it was never-the-less seen through the eyes of a 16 year old Hemingway and it could quite well account for the fact that Hemingway's well know fascination with lesbians he had throughout his life could quite possibly have stemmed from this.

Fifth, and this is one I was quite grateful for, Reynolds has given Hadley full credit for her influence over Hemingway's development as an author via her introducing him to real literature rather than the juvenile and popular literature at the time. Along the same line, he addresses the tremendous influence that Teddy Roosevelt's writing had over him and his development as a man, i.e. his attitudes of what a "real man" should be. This was not out of the ordinary as an entire generation of young boys was under the same influence.

Sixth, even though it is a well known fact that Hemingway had a very bad habit of embellishing stories of himself, to the point of actually lying, a fact that practically ever biographer has pointed out, he, Reynolds, points out the fact that there was a strong underlying theme of "fiction" throughout Hemingway's entire life and had he not had this tendency to embellish, he probably would not have become the great fiction writer he was. All men have a bit of this trait in them; Hemingway just took it to new heights.

Seventh, the author Reynolds has not burdened us with several chapters as most biographers have done, with the Hemingway family tree going back two or three generations. While he covers this, he does it in a way that is quite painless and blends family history skillfully into his overall story.

Eighth, the author has stressed over and over again the impact that Hemingway's relationship with his father and mother and how it affected him for the rest of his life and that aspect of his life cannot be overlooked or made light of.

Overall, so far, this is by far the best biography on the life of Earnest Hemingway I have read, and it must be noted that I have read a bunch of them. We shall see how the next four volumes go.

Don Blankenship
The Ozarks

19 of 19 people found the following review helpful.
Reynolds speaks Hemingway fluently
By Lale Eskicioglu
There are over 70 Hemingway biographies out there. You want to read one, a good one. How do you choose? You flip through the pages of a few at your local bookstore and then, relying on your intuition and luck, you pick one. Hopefully it will be the one written by Michael Reynolds. The Young Hemingway is the first in a 5 volume set. The other books in the set are The Paris Years, The Homecoming, The 1930s and The Final Years. (I ended up reading all 5. While reading this first book, it is important to keep in mind that it is only a part of a bigger story.)
This is a well-researched and well-written book (as are the other 4 in the series). Reynolds, to put everything into perspective, gives background information on the society, politics, art, culture and trends of the times. He tells us which songs are popular and which books are on the best-seller lists. All of the important events that take place in the US and in the world are mentioned. Reynolds does not miss anything that might have helped shape Hemingway or that might help us understand him and his works better. When a day is significant in Hem's life, you can be sure that Reynolds will also tell you the headlines of European and American papers' headlines of that day.
It is a very smooth flowing, easy to read book and when you are finished you know that you can't just have one, you have to read all five.
A note to the reviewer who found excessive family info (or gossip) in the first book: I think the first book, The Young Hemingway, is concentrating on the family to give us a solid background of the man, of where he is coming from. It is important to keep in mind that this is only one fifth of the whole study. The family falls to the background in following books and other "shapers" come to the foreground. It is a work that needs to be reviewed as a whole.

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[K975.Ebook] Free PDF The Legend of the King (The Squire's Tales), by Gerald Morris

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In this final installment of the Squire's Tale series, Terence and his fellow Knights of the Round Table must come together in a last stand to save Camelot. The characters Gerald Morris has brought to life throughout his series—“Terence and Gawain, Lynet and Gaheris, Luneta and Rhience, Dinadan and Palomides"—each have an important role to play in this climactic final conflict. Maintaining their faith, selflessness, and honor, Arthur's court bands together to try to defeat Morgause and Mordred and banish the dark magic from England forever.

• Sales Rank: #808781 in Books
• Brand: HMH Books for Young Readers
• Published on: 2010-09-13
• Released on: 2010-09-13
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x 1.13" w x 5.50" l, .95 pounds
• Binding: Hardcover
• 304 pages

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• Great product!

From School Library Journal
Gr 5-8–Camelot is in ruins, nearly all the famous Knights of the Roundtable are dead, and Arthur is no longer on the throne. Or is Camelot just waiting to rise again? In this final title in the series, Morris once again makes the adventure, excitement, and magic of King Arthur and his court accessible to every reader. Arthur's illegitimate son, Mador, born to the great sorceress Morgause, has raised an army, the White Horsemen, and is massacring people across the countryside and blaming it on Arthur's knights. At the same time, Camelot is infiltrated by spies and the scandal of Lancelot's affair with the queen causes a division between Arthur and the great knight, though that is soon healed. And the door between the human and magical world closes. Through the mayhem, Arthur's England triumphs, but at the cost of nearly everyone who has appeared throughout this series. Yet the ending is hopeful and still possesses the magic of the legends. As with the earlier titles, Morris does not shy away from love or violence, but instead stays true to the feel and premise of the original tales while building on them. Reading the previous books is a necessity to understand all of the characters, although a list of them and the books in which they appeared is helpful. An excellent end to a worthwhile and well-written series that can be recommended to reluctant and skilled readers alike.Clare A. Dombrowski, Amesbury Public Library, MA
� Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

From Booklist
In this final title in the Squire’s Tale series, former squire Terence is still adjusting to knighthood when the White Horsemen, led by ruthless Mordred, threaten King Arthur. To protect Camelot, Terence and others embark on a dangerous, difficult quest to vanquish enemies, culminating in an epic, brutal battle between good and evil. Gracefully interweaving Arthurian legend, realistic and magical elements, humor, and heartbreak, the vivid prose brings events, settings, and new and returning characters to life. From ever-loyal Terence to kind enchantress Lynet, the characters’ interspersed stories and relationships create depth and suspense in an engrossing conclusion to a notable series. Grades 6-9. --Shelle Rosenfeld

Review
"Morris pulls off a spectacular conclusion to his humane and witty Squire's Tales series as destructive intriques both provide a backdrop for a fan-pleasing reunion of favorite figures from past episodes and lead up to the final battle between Arthur and his brilliant, hideously warped son Mordred. . . . Though the author doesn't shy from depicting the legend's tragic end, he does display authorial mercy in a set of aftermath scenes that ease the pain with a focus on healing and the future. Well done."—Kirkus Reviews,�starred review

"The knights' simplicity, honor, and kitchen-table philosophizing will continue to entrance readers, straight through to the end of this thrilling, elegiac, hope-from-the-ashes saga."—The Horn Book, starred review

Praise for Other Books By Gerald Morris:

The Squire's Tale
"Well-drawn characters, excellent, snappy dialogue, detailed desriptions of medieval life, and a dry wit put a new spin on this engaging tale." —Booklist

The Lioness and Her Knight
"Once again, Morris brilliantly re-animates an old story, keeping readers engaged while gently, genially urging them to ruminate over the truths at its heart."—Kirkus Reviews, starred review

The Princess, the Crone, and the Dung-Cart Knight
" Readers looking for page-turning adventure, a strong heroine, and some fun will find it all here." —School Library Journal

The Ballad of Sir Dinadan
"Fans of the previous titles or Arthurian legend in general will thoroughly enjoy Sir Dinadan, but it stands on its own as a lighthearted introduction to the period."—School Library Journal, starred review

"Morris pulls off a spectacular conclusion to his humane and witty Squire's Tales series as destructive intriques both provide a backdrop for a fan-pleasing reunion of favorite figures from past episodes and lead up to the final battle between Arthur and his brilliant, hideously warped son Mordred...Though the author doesn’t shy from depicting the legend’s tragic end, he does display authorial mercy in a set of aftermath scenes that ease the pain with a focus on healing and the future. Well done."—Kirkus,�starred review

Most helpful customer reviews

6 of 6 people found the following review helpful.
No kingdom lasts forever
By E. A Solinas
All good things eventually come to an end, and the same applies to Gerald Morris' clever fantasy series about King Arthur's knights. "The Legend of the King" follows Arthurian legend to its natural bittersweet conclusion-- and while there's plenty of loss and mayhem, Morris manages to give it a hopeful slant.

It starts with Gareth coming back to Camelot, and raving drunkenly about "looshe" women, the king, Lancelot, and the world in general. Then their sorceress mother appears to Agrivain, and encourages him to undermine the Round Table and its knights -- leading to a disastrous encounter with Lancelot, and the queen being accused of treason.

And the knights riding through the land encounter some sinister doings -- Mordred is riding through the land, claiming that a maddened Arthur is turning his armies on his own people. As the people of Camelot turn against each other and the kingdom begins to crumble from treachery and sorcery, Terence, Gawain and the small band of loyal knights must fight to the bitter end...

It sounds very depressing, but Gerald Morris manages to make "The Legend of the King" an experience that is both saddening and humorous. Anyone who knows about Arthurian lore will have a pretty good idea of how the story goes and how it ends, but Morris still manages to put his own quirkily fantastical spin on it.

There's still plenty of humor here ("Shall I send them a threatening message telling them that if they don't lift their siege at once, my wife won't cure their scabby bits?") and some lighter romantic moments. But there's a darker undercurrent even to the lighter stuff, and as the story winds to its inevitable conclusion, Morris fills his story with a feeling of sadness -- he really makes you mourn for the loss of Camelot and everything that might have been.

And despite that darker undercurrent, Morris manages to wrap up his saga in a surprisingly gentle style -- it's sad, but it's not depressing. And while he sticks to Arthurian myth, he manages to add his own spin.

And he spends the entire book revisiting all the beloved characters -- Terence, Gawain, Dinadin, Gaheris, Lynet, Morgan and even Arthur and Lancelot himself. It's a painful wrench to say goodbye to these characters, and Morris gives each one some powerful scenes (such as Arthur meeting his imprisoned wife) and strong storylines (Gaheris and Lynet dealing with a siege).

"The Legend of the King" is a strong, bittersweet conclusion to Gerald Morris' series, and he adds his own unique spin to the legends of King Arthur and his knights. His best work yet.

4 of 4 people found the following review helpful.
From Colossae to Camelot
By Eileen Cunningham
This is the last of a ten-book series called *The Squire's Tales*, but the first that I have read. The author, Gerald Morris, indicates in his "Envoi" (or Afterword) that his goal was to find a way to introduce a new generation to the Arthurian legend. I believe he has succeeded far beyond the attempt of Philip Reeve in *Here Lies Arthur*.

In terms of content, Morris has tweaked the supernatural elements of the Arthurian tales by introducing Hecate, the evil spirit from whom Morgause and others have received their powers. In Greek mythology, Hecate was associated with cross-roads. Hence, her position between the after-life and the here-and-now is apt, and Morris uses her as sort of a portal between the living and the un-dead, which is important in this volume since Morris has taken on the task of describing the exit of sorcerers from the world as well as the death of Arthur, which inevitably comes for the same reason it always has: the adultery of the queen and the treachery of Mordred.

Unlike Reeve's book where the "good guys" actually became the "bad guys," Morris's book has left Arthur's integrity intact but shows him as a flawed man, much in the way Shakespeare would have treated him had he attempted to do so. Using quotes from Yeats ("Things fall apart; the center cannot hold....") and Whitman ("...nothing collapses, and to die is different from what any one supposed"), Morris employs a concept of biblical proportions. As Paul of Tarsus wrote in his epistle to the believers at Colosae, Jesus Christ "is before all things, and in him all things hold together" (Col. 1:17). Without him, then, all things "fall apart." In general, the first chapter of Colossians deals with the "kingdom of darkness" in much the same way that Morris has written of Hecate, Morgause, and others in this novel.

The one difference from the biblical interpretation of sorcery is that in this novel (as in others in which sorcery has a role), there are "good" sorcerers and "bad" sorcerers. This is an interesting concept to me because what is "good" is still usually defined according to biblical teachings about serving others and even sacrificing one's own life. Yet we know that sorcery is off limits for those who follow Christ. That, I believe, is an issue worthy of discussion and one which Morris's readers should be encouraged to consider.

Since this was the first of Morris's books for me, I found the index of characters to be very useful. My only "plaint" is that the use of current American slang seems a bit corny almost everywhere it is used. I don't think young readers object to what one might call a medieval register. Still, Morris has succeeded in holding readers to the last page even though all familiar with the ancient legend know that Arthur must die--or, must he?

2 of 2 people found the following review helpful.
A hopeful conclusion to a delightful series
By Sheila L. Beaumont
Gerald Morris brings off an amazing conclusion to his lighthearted, warmly humorous "Squire's Tales" series. This tenth and final installment must have been quite a challenge to write, since readers familiar with the legend of King Arthur and the Knights of the Round Table already know that it isn't going to end well.

Necessarily darker than the previous books, "The Legend of the King" gathers together the characters we've come to know, among them Squire (now Sir) Terence, through whose eyes we were introduced to the story in the earliest books, Dinadan, Palomides, Parsifal, Gawain, Gaheris, and Lynet.

The author brings to life the machinations and deceptions that lead up to the disastrous final confrontation between Arthur and his son, Mordred: Morgause's masterful plot to undermine the unity of the Round Table, bringing about a schism between Arthur and Lancelot; Mordred's sowing of discontent throughout the land by sending his minions out to slaughter peasants and attributing these mass murders to a mad King Arthur and his knights.

Despite the darkened tone of this concluding installment, there's still plenty of the wit and humor we enjoyed in the earlier books, and the undeniably sad outcome of the story is leavened by a conclusion in which we see glimmers of hope and the beginnings of the Arthurian legend we know and love today.

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