In recent posts we’ve been looking at the background to Joan Aiken’s alternative history novel The Cuckoo Tree (1971): the people involved, the geography of the narrative, and so on. We now come to a more tricky aspect of the story, the chronology, and we shall find that things are even less straightforward than ever.
Philip Pullman: The Book of Dust,
Volume One: La Belle Sauvage Illustrated by Chris Wormell
David Fickling Books / Penguin Books 2017
Eleven-year-old Malcolm Polstead is an exceptional young man, bookish yet practical, hard-working yet imaginative. Living in a world parallel to ours, near an Oxford which is not quite the same us ours and in times very different to ours, he has to call on all his innate resources when the times prove to be out of joint. Will he prove instrumental in helping to set it right?
Pullman’s long-awaited new trilogyThe Book of Dust, set in the same frame as His Dark Materials, in my view looks like living up to its promise. If we can accept the existence of daemons, those anima/animus beings in the form of animals that humans all have in this world, then at first this narrative starts off as a straightforward thriller. Those familiar with the earlier trilogy and its associated works will not be surprised to discover that this instalment provides further details of Lyra Silvertongue’s backstory; but new readers will not be unduly disadvantaged because our focus is almost entirely on Malcolm and the deep water — literally — he finds himself in.
Joan Aiken The Whispering Mountain
Puffin 1970 / Red Fox 1992 (1968)
Not strictly a prequel to the Wolves of Willoughby Chase sequence (our young hero Owen Hughes re-appears around the time of the plot to slide St Paul’s Cathedral into the Thames at a coronation, in The Cuckoo Tree), The Whispering Mountain can nevertheless be enjoyed as a standalone novel. It also adds to our knowledge and understanding of Joan Aiken’s alternative history of the world in the early 19th century, sometimes called the James III sequence or, as I prefer to call it, the Dido Twite series (from the most endearing character featured in most of the books).
Set in and around the western coast of Wales, the tale features elements of Welsh mythology, Dark Age history and traditions of Nonconformism and mining, along with several other typical Aiken themes — such as Arthurian legend (revisited in The Stolen Lake), slavery underground (as in Is), mistaken identities (as in The Cuckoo Tree) and dastardly villains (as in all the titles of the sequence). Although convoluted, the plot draws you along to the inevitable conclusion, and as always Aiken doesn’t shy away from death even when writing for a youngish audience.
In Joan Aiken’s Limbo Lodge we meet with a number of individuals who haven’t appeared elsewhere in the Wolves Chronicles. Joan (see, we’re all on first-name terms!) is adept at making these individuals distinctive so that we don’t get too confused as to who’s who on the island of Aratu. Linking it all together is of course Dido Twite, whom we first encountered as an 9-year-old London urchin in Black Hearts in Battersea but who now dresses as a young sailor lad after more than two years at sea.
Here follows a prosopography of the main named characters in the novel, a sort of index raisonné in which I try to account for Joan’s choices for her dramatis personae. Remember, look away now if you don’t want massive plot spoilers revealed!
Joan Aiken: Limbo Lodge
(Dangerous Games in the US)
Red Fox 2004 (1999)
On the back cover of my edition of Limbo Lodge is a quote from Philip Pullman:
What I relish in particular is the swiftness of the telling, the vigour with which brilliant moments of perception seem to be improvised in the sheer delight of the onward rush of the story. Joan Aiken is a marvel.
This adulatory comment (said to be from The Guardian) is cited everywhere online but I can’t discover if it’s actually part of his review for this particular book. It’s certainly true of Limbo Lodge, as for all of the Wolves Chronicles, but for me what stands out most is how much rich detail Aiken includes, and how many corridors leading off from the main narrative avenue just beg to be explored. For example, board games are everywhere, a metaphor for the moves that Dido Twite and her companions have to constantly make if they are not to lose their lives. Twists of fate, as illustrated by the Tarot, can also determine outcomes. There are stern critiques of misogyny, racism and colonialism, not unexpectedly, but also parallels with Shakespeare’s late play The Tempest, whether consciously introduced or not is hard to decide. And — given that Arthurian themes pervaded The Stolen Lake, the title that chronologically precedes Limbo Lodge — there are faint echoes here too of the Once and Future King in Aiken’s tale, of the medieval sin of accidie and of restoration.
But Pullman’s description of swift storytelling and the spontaneous vigour shown in brilliant moments of perception is spot on, strengths which lead one to first rush down that corridor, leaving the side passages to explore in a later rereading.
Philip Pullman: Once Upon a Time in the North Engravings by John Lawrence
David Fickling Books 2008
A Texas cowboy. A gas balloon. A settlement by the Barents Sea. A polar bear. Local politics. Dirty secrets. And … Action! Philip Pullman’s fantasy of derring-do near the Arctic Circle paints a vivid picture that reads like a film script synopsis as well as playing in the mind’s eye like a graphic novel. Set some 35 years before the events in the His Dark Materials trilogy Once Upon a Time in the North directly references a Sergio Leone spaghetti western in its title; like Once Upon a Time in the West we have a frontier town and potential conflict based on land exploitation (oil reserves here instead of a railroad), plus a hero figure determined to defeat a vicious gunslinger with whom he has unfinished business.
But this is where the comparisons end. While Pullman may have been inspired by Leone’s film, his main purpose is to introduce the story of how the young Lee Scoresby gets to meet Iorek Byrnison, a panserbjørne or fighting polar bear, and how they establish an alliance long before they meet Lyra in Northern Lights. This novella then is a prequel — unlike the standalone movie — giving us background on Lee and Iorek’s characters and how it is that a cowboy appears to be an accomplished aeronaut in the frozen north.
It’s time for another update on the world of Dido Twite according to the account in Joan Aiken’s The Stolen Lake. We’ve had an overview, and we’ve looked at the main personages (the ‘who’) and the timeline of the narrative (the ‘when’). It remains for us to examines the themes that the author touches on (the ‘what’), but right now we’re going to look at the novel’s geography (the ‘where’).