But I write for myself, for my own pleasure. And I want to be left alone to do it. - J.D. Salinger ^(;,;)^
I absolutely love the prose of Jack London. I wonder exactly how many people have died, pulled North to the Wild by the romantic pen of Jack London. I finished a while back and was crying as I listened to it with my kids.
Norman Dietz did an OK job narrating, but his stretched sonorant vowels kinda drove me nutty after awhile. I didn't have the dedication or endurance to listen to long stretches of Dietz describe the frooooooont and reeeaaaaaar of London's cooooold siiiiiiilent landscaaaaaaaaaaaaaapes.
Just finished this with the kids. I remember reading this with my mother when I was 10. It is a nice generational conveyance. When I was young, the STORIES of Tom and Huck affected me the most. Now, however, it is Twain's language that touches me. I love how Tom's life and play is impacted by the adventure books he reads. One day Tom is animated by a bounty of pirates, the next day by a shadow of robbers, and everyday Tom's vocabulary and actions are endowed with the books of his youth. 'Tom Sawyer' is just as much an ode to his youth as it is a poesy to the adventure books of a more tender age.
*** First a preamble:
Just so you know, this audiobook contains Books 1 -4 of The Once and Future King AND Book #5 (The Book of Merlin). I didn't know #5 was included, but was thrilled to discover it came with the rest.
*** OK, preambulations are done, on with the real review:
I loved it and my two brats (11 & 13) absolutely enjoyed it, even if many of the jokes, the funky anachronistic blending of the Medieval with the Modern, might have floated a bit over their tiny wee heads.
Anyway, I think White perfectly captured the magic, power, fears and the joy of both youth and myth with this retelling of early Arthurian legend. White's theme of power and justice ("Might Makes Right") seem to perfectly capture the political Zeitgiest of now. Perhaps, White like Merlin was just writing through time backwards and wanted to capture the queer contradictions of Imperial Democracy in the global 21st century, but wanted to write it in the 1930s so Disney would be around to animate it (ugh) in the 60s and thus make his point resonate better in the early 21st century.
You might think a novel that basically focuses on a love-triangle (a quadrilateral if you include God), several affairs, a man's struggle between his love for a woman, love for God, love for his best friend, would not hold the interest of a 13 and an 11-year old for long, but this is T.H. White. The characters are so human, so filled with frailties, heroics, and insecurities that White could have written about cooking for 300 pages and my kids would have been rapt from page 1 to the end.
The story turns, about half-way through, solidly to Lancelot. It is impossible to understand Lancelot without looking at Arthur, Guinevere, Elaine & Galahad. And White digresses throughout TO&FK to capture these stories. The middle of the book pivots as Camelot, under Arthur's leadership, undergoes a change from physical quests (Round Table v. Might makes Right) to spiritual ones (Round Table > Grail quest). This change captures/mirrors the dynamic of Lancelot's own story (the vacillation between the physical and spiritual).
Finally, the weight of the conspiracies, the betrayals, the killings, and the expulsions are all there pushing against the King (I love when T.H. White calls Arthur - England) and his faith in man and justice. It just isn't to be. Do I need to hide the ending? Am I going to spoil the book for you? Come now, we are all mostly adults here. Camelot fails, but T.H. White explores the failure almost as beautifully as he does the magic of Camelot. He captures the magic of Camelot by focusing on the humanity of the people. He isn't satisfied with making (or keeping rather) Lancelot, King A, Guinevere, and even Mordred locked up in the stale symbols they often become. The trite shadows of type is not T.H. White's jam. He wants to humanize everybody. He wants to show the motives, the nuances of character that makes the reader LOVE these figures not because they symbolize things like bravery, chivalry, or justice ... but because they remind the reader of elements, times, moods and flaws found buried within. T.H. White started with a fantasy novel, but ended with an exploration of war, humanity, love, and hope.
Look, I'm skeptical of fantasy novels. They aren't my thing. I want literature. I want something that pushes you against the wall of your own head and dares you to think bigger. I think T.H. White was aiming for that -- and holy anachronisms - he nailed it.