world in order to acquire it and transform things to
his liking. This is one of the better contemporary
fantasies.
Silverhair the Wanderer(1986) marked the first
of several return visits to Westria, a series that im-
proved dramatically as it continued. The Earthstone
(1987) and The Sea Star(1988) describe the tran-
sition to a new ruler after a period during which
the throne was vacant. The Wind Crystal(1990)
and The Jewel of Fire(1992) are above-average
quest adventures in which magic jewels must be
acquired from different locations to ensure the
kingdom’s security.
Paxson continued to demonstrate her ability
to write convincingly in a contemporary setting as
well as in different historical periods. White Mare,
Red Stallion(1986) is set in early Scotland and in-
volves a tragic clan rivalry that places a young
woman in a position in which she is obligated to
kill the man who loves her. The White Raven
(1988) is a very effective retelling of the story of
Tristan and Iseult. Paxson also relied on classical
sources in Serpent’s Tooth (1991), one of her
stronger novels, which is based on William Shake-
speare’s King Lear. The Wolf and the Raven(1993)
is a retelling of the story of Sigfrid and Brunhild,
another story of a love affair that crosses clan
lines. Their history is continued in Dragons of the
Rhine(1995) and The Lord of Horses(1996). The
Hallowed Isle(2000), originally published in four
volumes, is a new interpretation of the story of
King Arthur. Another trilogy, Master of Earth and
Water (1993), The Shield Between the Worlds
(1994), and Sword of Fire and Shadow(1995), all
written with Adrienne Martine-Barnes, is based
on Celtic legends.
Paxson also collaborated with Marion Zimmer
BRADLEYon some of the latter’s novels set in
Roman Britain. She was not credited for The Forest
House(1993) but was listed as a collaborator on
Priestess of Avalon(2001). Her most recent novel is
Ancestors of Avalon (2004), based partially on
notes left by the late Bradley. Paxson has also writ-
ten a large number of short stories, several of
which are quite good but none of which have at
present been collected. She is a reliable, skilled
practitioner whose reputation is likely to grow in
the years to come.
Peake, Mervyn(1911–1968)
Mervyn Peake’s Gormenghast trilogy is one of the
most unusual works in the history of fantasy be-
cause, despite its enduring popularity, it has almost
never been imitated. The uniqueness of Peake’s vi-
sion and the complexity of his creation set the
books apart and have given them a so far unique
status in the genre. The trilogy is not entirely con-
sistent, and one might wonder from one volume to
the next whether the story is taking place in some
obscure corner of our world or in another reality
entirely. The three volumes are Titus Groan(1946),
Gormenghast(1950), and Titus Alone(1959), the
last of which has appeared in two slightly different
versions.
Each of the novels is set within the lifetime
of Titus Groan, who goes from childhood to ma-
turity to a kind of exile during the course of the
work, although he is usually not the central char-
acter. The setting is Gormenghast, a castle so im-
mense and convoluted that it is virtually a
self-enclosed world with its own culture and laws.
There is a very large cast of characters, and the
relationships among them are complex and some-
times volatile. Much of the actual story involves
the efforts to advance himself made by one of
these characters, Steerpike, an ambitious, intelli-
gent, but not entirely honorable man who even-
tually gets what he deserves. The third volume
turns to Titus and is significantly different in tone
and structure, often surrealistic. He ventures out
of the castle to explore a world that does not ap-
pear to be ours, or is ours transformed very
strangely in the near future.
Peake died before completing the story, which
was to have included at least one more complete
book, Titus Awakes.A short story, “Boy in Dark-
ness” (1976), is related to the trilogy. A shorter
novel, Mr. Pye(1953), is set on an island that at
times resembles Gormenghast in its social struc-
ture. It is an allegorical battle between good and
evil, with the title character sprouting angel wings
or horns as the situation changes. A handful of
other short fantasies have survived but are largely
forgotten. Peake’s work requires some focus on the
part of the reader, as his stories often emerge slowly
from his elaborate backgrounds, but they reward
the extra effort required.Peake, Mervyn 269