Final review: The Pendragon Cycle: Rise of the Merlin

I’m going to do another post about the Daily Wire’s miniseries, The Pendragon Cycle: Rise of the Merlin, now available on Amazon Prime. I finished watching it on Sunday, and just want to give it another boost.

My opinion has not changed – this is very, very good epic television. The premise, if you haven’t read the books, is that the Faery Folk of Avalon, so prominent in Arthurian legend, were actually refugees from Atlantis, a long-lived race with certain mystical powers. Taliessin, a great British bard with mysterious origins of his own, marries Charis, a princess of Avalon, and Myrddin (Merlin) is their son, whose otherworldly vision sometimes threatens his sanity. His great challenge (accepted only with reluctance) is to unite all the Britons under Prince Aurelius in order to resist the Saxon (Saecson) invaders.

There were a couple of matters I thought I should address. I understand they’ve raised some controversy among Christians. You should be aware that this series is mature material, and probably is not suitable for younger viewers. The series is grittier than the Lord of the Rings movies. The controversial matters I refer to are the traditional ones – sex and violence.

There is sex here – but no nudity or explicit content. We are presented with couples who fall in love and clearly desire each other very much (though Taliessin tells Charis he prefers to wait for marriage “as the Christians do,” which is the rule throughout). We follow them to the bedchamber and see her drop her gown (above the waist, from behind), and then the shot fades in classic Hollywood fashion. It’s very sexy, but chaste, in the precise meaning of that word.

The Atlantean women also dress pretty lightly – though not as lightly as the Minoans their culture is based on.

There is violence here. I have long criticized Stephen Lawhead for being shy about ending his epic stories with good, rousing battles. But that (I think) is the later Lawhead. This series ends with an extended battle, in which there’s plenty of gore. These scenes, in particular, should probably not be viewed by children.

Which leads to my conclusion. The Pendragon Cycle: Rise of the Merlin is Christian art for grownups, handling life issues more realistically than the Christian films you’re probably used to. I approve of this, but some Christians will surely take offense. And it’s not for me to judge them. They must guard their own hearts, and they may be very wise.

For all that, I recommend the series. For those who can appreciate it.

‘Key West Dead,’ by Mark Nolan

The other day, in discussing author Stephen Lawhead, I referred (jokingly) to my seething envy of his success in a field where I also write.

Yet I am indeed capable of resenting other author’s success. Specifically, when I see that they’re “Amazon bestselling authors,” and observe, in reading their work, that they can’t, in fact, write.

Key West Dead, by Mark Nolan, is part of a series of novels starring Jake Wolfe, a California private eye. A veteran and a PTSD sufferer, he works with his dog Casey, who both calms him and, thanks to his experience as a bomb dog, alerts him to guns and explosives – which turns out to be valuable in this story.

Jake and Casey are in Key West for a wedding when they witness the explosion of a yacht causing the murder of two innocent people, by means of an IED. Infuriated by the crime, Jake, with the support of his partner Terrell and his girlfriend Sarah, embarks on a personal game of wits with the obsessive bomber, whose original purpose was to extort money from the island government but is now at war with Jake and Casey as well.

What did I dislike about Key West Dead? First of all, the author doesn’t know how to write dialogue. His characters all speak the same way, in stilted, lecturing fashion, delivering information dumps in classic “as you know” form. The narrative passages are no better – descriptions and events are described in the most rote and pedestrian ways. For instance:

As Jake listened to Bart’s cultured voice and his articulate, well-spoken reasoning, he was reminded that the man had graduated from Harvard Law School.

This is first-draft writing, with zero effort exerted for vivid impression or original observation. However, people seem to buy these books and to rate them highly, so maybe I’m the fool for trying to be a wordsmith in my own work. There is plenty of action here; often implausible – again and again we see danger approaching, but Jake – warned in time by Casey’s priceless nose – always draws on his resourcefulness to prevent (or minimize) loss of life.

The dog may be the key. Casey is nice dog. Even I liked him.

But I don’t recommend Key West Dead. Unless you’re looking for a beach read that makes no demands whatever on your thinking brain.

I should probably mention that there are a couple positive references to the Second Amendment. So there’s that.

‘It Is Well With My Soul’

Yesterday, the anniversary of Charlie Kirk’s contemptible murder. Today the 25th anniversary of the terrorist destruction of the World Trade Center in New York City. I have nothing to say that’s worthy of the occasion. So I post above Mahalia Jackson’s performance of “It Is Well With My Soul.” You young people probably never heard of Mahalia, but in the days of my youth she was the queen of authentic Black Gospel music. Listen and you’ll understand why.

I have no moving tale to tell about 9/11/01. My story is just like everybody else’s. Somebody told me about it at work, and we spent the rest of the day following the news reports. Which just got more and more awful. Far away, thousands of my countrymen were suffering unthinkable horror, with no one to help.

If I said any more, I’d get preachy, and I’m not worthy to be preachy on this topic.

May each of them find mercy. And may justice be done.

Viewing report: ‘The Pendragon Cycle: The Rise of the Merlin

As you’re likely aware, The Pendragon Cycle: The Rise of the Merlin, based on Stephen Lawhead’s Arthurian novel series, is now available on Amazon Prime. I am watching, and am impressed. This is high-quality filmmaking. I tend to watch movies and miniseries with a skeptical eye, but I honestly didn’t have a single moment where I thought, “They’re cutting corners here.”

I have a conflicted relationship (wholly in my imagination) with author Stephen Lawhead. When I set out to write my Erling saga, I looked around for a Christian novelist who was doing the same sort of thing, and Stephen was all I found. (There may have been others; there was no internet at the time. All I knew was the books I saw in bookstores.) The career I dreamed of involved my gradual advance into parity with him. In my imagination, I’ve been engaged in a zero-sum competition with him every since, and he’s got all the marbles.

There’s a kind of villainous character who shows up now and then in movies and TV shows. I can’t think of an example offhand, but I’m sure you’ve seen such characters. This villain is a small, unprepossessing man, and he’s obsessed with somebody else’s success. “He stole everything from me!” this villain will say. “All that money he’s got, all that acclaim! It should have been mine! I’m the real genius! He stole everything from me!” And then he goes on to describe his diabolical plan to blow up a city, or something.

I’m a little like that guy in regard to Lawhead. I grudgingly admit he was doing it before I did, and I can’t deny he did it (and does it) well. He deserves his success. I have some quibbles with some of his books, but he’s a fine author.

My envy, in fact, is purely envy. It has no rational foundation at all.

Does that mean I won’t urge you to watch The Rise of the Merlin?

Not at all. Please watch it. Recommend it to your friends. Run those viewer numbers up, so there’ll be a second season.

Maybe then the film industry will realize the world is hungry for Christian historical fantasy. And they’ll find me. And I’ll get that movie deal I’ve been dreaming of.

And, oh yes, I work cheaper than Lawhead…

‘The Viking Saint: Olaf II of Norway,’ by John Carr

John Carr is primarily a historian of the Mediterranean region. He has taken it upon himself, for some reason, to write a hagiography of Saint Olaf of Norway. His book, The Viking Saint, in my view, provides a cautionary example for anyone who decides to write in a field where they don’t know their way around.

The Viking Saint is a genuine hagiography, a book openly intended to glorify its subject and promote his veneration in the church. (I don’t know that Carr is a Catholic, but he gives that impression). As a result, it’s rather credulous, even for a Christian reader like me. Olaf’s deeds (often autocratic and bloody) are always given the most positive interpretation.

The main source is Snorri Sturlusson’s Heimskringla. That’s an approach I generally approve of, while recognizing that it requires supporting research from other sources. I think Carr uses the wrong supporting material, and not nearly enough of it. On top of that, he frequently misunderstands Snorri.

The book opens immediately with a big historical howler – he claims that it’s plausible that Olaf Haraldsson’s destruction of London Bridge, during his service with King Ethelred the Unready, was the origin of the “London Bridge is falling down” nursery rhyme. It is not plausible. (I explain this in the Afterword to my novel, The Elder King.)

The errors go on and on. He thinks that Olaf’s father, King Harald of Grenland, was raised in Greenland (Grenland is in fact a farm). He takes it for granted that Olaf was a direct descendant of King Harald Fairhair (that’s disputed) and the sole legitimate claimant to the throne of Norway (he wasn’t). He thinks King Halfdan the Black ruled from Trondheim (not true). He thinks Viking slave hunting among the Slavic tribes resulted in the coinage of the word “slave” (it came later). He confuses King Harald Greycloak of Norway with King Harald Bluetooth of Denmark. He thinks Queen Gunhild, wife of Erik Bloodaxe, was killed in the St. Brice’s Day Massacre (it was another woman, possibly fictional). He thinks the Norwegian name for a free farmer, “bonder,” means bondsman.

Carr errs again when he tells us that astronomy has confirmed that an eclipse occurred, as the saga says, on July 29, 1030, the date of Olaf’s death at the Battle of Stiklestad. This is not true – the eclipse came about a month later (I discuss this in the Afterword to The Baldur Game).

In more subjective matters affecting my own area of interest, I disagree sharply with Carr’s assessment of Erling Skjalgsson of Sola. He considers Erling a mere opportunist, a rebellious vassal. He fails utterly to recognize the serious constitutional questions on which Olaf and Erling clashed.

One of the most startling statements I found in The Viking Saint was author Carr’s contention that there were “no political overtones” to the rise of St. Olaf’s cult. It takes a pretty narrow pair of blinders not to notice how the Olaf legend served the political purposes of Norwegians eager to throw off Danish control.

A good biography (even a good hagiography) of Saint Olaf would be welcome. And it’s perfectly legitimate to take a different position than mine on the issue of Viking democracy, as opposed to monarchy. Let a thousand flowers bloom.

But a biography ought to be properly vetted. Actual historians of the period should go over the manuscript to weed out errors that even an amateur like me can find so easily.

The Viking Saint, sadly, is not a book I can honestly recommend.

Plundering Homer

Jean-Baptiste Mallet ( 1759 -1835), Homer reciting the Odyssey, oil on canvas, 25 cm x 32 cm. Aucitoned at Hôtel Drouot, Paris, April 4, 2021.

Our friend Dave Lull has forwarded me the link to the substack of a writer named Brian Heming, who has embarked on a project to re-cast the Odyssey as a Viking saga in Tolkien style.

I have no idea why anyone would want to do this. But here are the chapters.

I bear Mr. Heming no ill will. But I find I rather resent the whole idea.

It takes me back to the 2006 Robert Zemeckis film, Beowulf. I reviewed it on this blog (lost, I believe, in our migration) concluding that “I didn’t hate it.” I didn’t love it either, though. I thought the animation was weird. I thought Angelina Jolie was completely out of place (stiletto heels, seriously?). But my main objection was that the writer, Neil Gaiman, had taken a Germanic saga and turned it into a Greek tragedy. Saga heroes are taken down by fate, Greek heroes by their own fatal flaws.

My point, in case I’m being obscure, is that Greek legend and Germanic legend are different things. Neither is necessarily better than the other, but they are distinct pleasures, like wine and bread, not meant to be confused.

But you may not care about this. There’s no reason why you should. Read the Viking Odyssey, if you like, with my blessing.

‘Fool’s Errand,’ by Jeffrey S. Stevens

Writing this review, I find myself in the odd position of not remembering what the narrator/hero’s name is. The Amazon synopsis doesn’t say either. Maybe Jeffrey S. Stephens, author of Fools Errand, never tells us that – or maybe I just missed it. But if Stephens held it back, that’s an interesting authorial tactic.

The narrator’s last name, though, is Rinaldi. He comes from a “colorful” New York Italian family. His father and uncles were involved in organized crime – not as kingpins but as lower functionaries. His father, a mercurial, charismatic alcoholic, ran numbers. The story is set in the 1970s, after his father has been dead several years. One day, his mother informs him she has a box of his father’s papers that was meant for him. When he goes through the material, he finds a letter addressed to himself, written not long before his father’s death. The letter tells of something the old man had bragged about many times, when drunk. It speaks – vaguely – about some “Money” that he, his friend Benny, and a Frenchman stole while he was in the army during the war, working on repatriating stolen artworks.

Our hero contacts Benny, who’s living in Las Vegas. Benny gently suggests he leave the whole matter alone, but (knowing he won’t do that) he gives him the name of the Frenchman.

Soon he’s on a plane to Monte Carlo, accompanied by Donna, a young woman he met and struck sparks with on the plane back from Vegas. Once there (where he is shadowed by employees of his mobster cousin Frank, who thinks he has a claim on this “treasure” whose nature he has no clue about) he meets his father’s old friend, and begins to put together the very strange story of his father’s wartime adventures.

Fool’s Errand was, simply put, a really good story. Fascinating. Well-written. Insightful. Suspenseful, but not a thriller. A character study and a love story.

I liked it a whole lot. Jeffrey S. Stephens is an extremely good (and smart) writer. Recommended, with cautions for mature content.

‘The Screwtape Letters,’ by C.S. Lewis

And now for your blunders. On your own showing you first of all allowed the patient to read a book he really enjoyed, because he enjoyed it and not in order to make clever remarks about it to his new friends.

I was in high school when I first read C. S. Lewis’s The Screwtape Letters. It had been recommended by a Sunday School teacher. The story of two devils consulting on a human’s damnation set off something like a series of small explosions in my brain. I’d never run across Christian thought anything like this before (pleasures weren’t necessarily sinful? Who knew?), and it dispensed a guilty thrill of possible heresy. It was for me the beginning of a lifelong grappling match with both Lewis himself and with orthodox Christian theology.

I’m not sure how many times I’ve read it in my life. The depressing part of revisiting it again is observing how little progress I’ve made in resisting my own personal Wormwood. To make it more uncomfortable, I understand the nature of sin and temptation better now than I did when I was in high school. The knives, therefore, are sharper.

I was also impressed, in reading the sequel essay, “Screwtape Proposes a Toast,” to note how prescient it is. Writing in the 1950s, Lewis observed trends in society and in education that have since metastasized in a way no one could have conceived of at the time.

The Screwtape Letters is a clever, masterfully written, insightful book about temptation that is actually extremely uncomfortable for anyone with any moral insight. And it gets more uncomfortable as you get older.

So I recommend it.

‘The Damage Man,’ by Gregg Hurwitz

And so you, you will mediate the space between what is sanctioned and what is not. And to do that, part of you must belong to what is not. That is the sacrifice you must make. You must be half-darkness while not serving darkness.

Gregg Hurwitz has gotten into the generous habit of providing Orphan X novellas once a year, to give us a little hit in between the great feasts of the novels. The novella The Damage Man was just released, and I tore through it like a Doberman on a Beggin’ Strip.

Evan Smoak, our lone wolf hero, is not summoned by a call on his high-tech phone this time around. He happens upon a middle-aged man, Rusty, who is being threatened by a loan shark’s collector in an alley. The collector is telling Rusty that his son Blake will get no delay; he has to pay up or he’ll be hurt. Evan intervenes, and when the collector pulls a gun, Evan puts him in the hospital. Then he asks Rusty about Blake’s problem, and informs him he’s going to take care of it. Because that’s what Evan does.

He learns that Ray and Blake are alienated. Ray abandoned his family when Blake was young, and Blake has never forgiven him. Though the two men have to hide out together temporarily, they can barely keep from coming to blows. Ray is desperately remorseful, but Blake’s anger runs deep. They are two inarticulate men, needing each other but unable to make contact.

This brings Evan’s own absentee father to his mind. He found the man once, discovering him to be a wholly superficial and contemptible human being, who only warmed to him when he lent him money. This operation involves phone conversations with Joey, the girl hacker who Evan has sort of adopted, and she’s intuitive enough to do a search for Evan’s father. She discovers that he’s dying.

Now Evan is faced with somethig he fears more than any number of terrorists or gangsters – the risk of reaching out again to his father.

Nobody matches Gregg Hurwitz when it comes to writing stories that not only excite you but probe your heart like a catheter. If you find yourself a little misty-eyed when you’re finished with The Damage Man, I can tell you (from a friend) that you’re not alone.

‘Thank You, Jeeves,’ by P.G. Wodehouse

He made a noise like a pig swallowing half a cabbage, but refused to commit himself further.

In the pantheon of P. G. Wodehouse’s Jeeves and Wooster stories, the novel, Thank You, Jeeves holds a unique and equivocal place. It’s unquestionably a clever book, full of pratfalls and twists, with a plot nearly as tight as that of The Code of the Woosters. It features, however, an inherent problem for the modern reader. More of that later.

The setup goes like this. Bertie Wooster has taken up playing the banjolele. Not only do his neighbors object to the noise, but Jeeves himself finds it intolerable – to the point where he gives notice. Jeeves departs, Bertie acquires a substitute (and much inferior) valet, and he heads off to his friend “Chuffy” Chuffnell’s seaside estate, to spend a holiday in a cottage on the property. To his surprise, Bertie finds that Jeeves has now found employment with Chuffy.

Meanwhile, Chuffy is engaged to Pauline Stoker, the daughter of an American millionaire who’s interested in buying Chuffy’s estate (which he’s eager to unload). Pauline, as it happens, was briefly engaged to Bertie himself, some time back when he was living in New York. Also on hand is Sir Roderick Glossop, an old nemesis of Bertie’s, who has a plan to manage the estate as a mental hospital.

In Wodehouse’s world, it’s inevitable that Chuffy and Pauline must break up, and Pauline announces that she’s going to marry Bertie on the rebound. Under the circumstances, Bertie is desperate to heal the rift in the lute (as Jeeves might have put it), but what hope does he have without Jeeves’ assistance?

Thank You, Jeeves is fast-paced and funny and implausible and irresistible like all the best Wodehouse. The big problem with it is that it is perhaps the supreme example among the list of Wodehouse works that people are talking about “cleaning up.” The sad fact is that it features a subplot involving a “minstrel band” of black (or black-faced, I wasn’t sure) musicians, and what we call “the ‘N’ word” gets used multiple times.

For the record, I’m against revising it. We live in history, and must deal with our ancestors, as we do with foreigners, as representatives of a different culture. Get used to it. You don’t have to approve to understand.

Otherwise, highly recommended.