Innovations in The Dark is Rising Sequence Essay Sample free essay sample

In her five book phantasy sequence entitledThe Dark is Rising.Susan Cooper draws upon Welsh mythology and other folklore to make a truly credible and realistic universe in which unaccountable and supernatural state of affairss occur. doing clip to prostration and be at the same time. Despite these parallel universes that span 15 centuries. the novels allude merely sidelong to their mythic beginnings. even though myths. originals. stereotypes and journeys are built-in to the narratives. Yet even in readings that do non trust on cognition of mythic beginnings. readers might intuit the reverberations of myth as they absorb the novels’ more elusive messages ( Hunt. 134 ) . However. immature readers who come to Cooper’s novels with an expressed cognition of the myth citing intertexts will hold a markedly varied experience of reading. What they will see is what Barthes has termed the ‘circular memory of reading. ’ This is a procedure in which the demand to remember and to mention back to specific intertexts limits the reader. We will write a custom essay sample on Innovations in The Dark is Rising Sequence Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The reading experience is. hence. more ambitious as the reader efforts to mention to the ‘borrowing’ and at the same clip incorporate it into a new context. It is the kernel of this kind of reading to deny readers an chance for additive reading as they move in and out of the text to do connexions between it and the mythic intertext ( Hunt. 134 ) . Yet kids likely don’t give this intertext job much acceptance. desiring merely a compelling narrative with or without myth that lets their imaginativenesss roam. Cooper obliges through her usage of the fantasy genre. In it she incorporates several common literary traits which must be present in all fantasy literature to qualify it as such. Timmerman ( 4 ) identifies these traits as: the employment of traditionalNarrative.the word picture ofCommon Characters and Heroism.the evocation ofAnother World.the usage ofMagic and the Supernatural.the disclosure of aStruggle between Good and Evil. and the tracing of aQuest. To understand these elements within Cooper’s work. it is first necessary to look at her beginning stuff. Much concerned with theMatter of Britain.a phrase which chiefly deals with the Arthurian fable. feats of British warriors. and narratives of Celtic beginning(Schofield 145 ) . Cooper establishes a sense of puting in her narratives that is rather vividly British. In Cooper’s imaginativeness. Britain is a fantastic â€Å"other† kingdom hidden behind the mundane. waiting to inform and transform world. This is a state of hurt male monarchs and powerful knights. of legendary traditional knowledge and ancient traditions. a state collected into sites where tradition and legend invest peculiar environments with a vague. but however. profound significance. In malice of all this background. the legendary and folkloric are. in general. unsupported by account or clear uping description ( Krips. 82 ) . However. her subjects need no reading. The Second World War ended in 1945. This was a war whose advanced engineering redefined the borders of the battlefield. first with the bombers and V-2s that brought devastation to the civilian population. and subsequently with the atomic bomb. whose possible to destruct future coevalss was lay waste toing As Nazis ‘efficiently destroyed’ their ain ‘undesirable citizens. ’ the invasion of panic into the ordinary universe. and the impact of undreamed powers became perennial subjects in Cooper’s work ; they are her bequest of a wartime childhood cut short by the premature consciousness of human immorality and vibrating threat ( Beckett. 92 ) . The scenes are preponderantly Cornwall and Wales. although in an interview Cooper admits to utilizing Buckinghamshire forThe Dark is Rising.saying that these topographic points are really beloved to her personally ( Thompson Interview. 1 ) . Throughout these scenes she weaves narratives of machination and enigma. pull stringsing myth and fable to her ain terminals. The on-going conflict between the Light and the Dark occurs in a instead traditional. slightly Miltonic domain with which are combined the landscape and figures of the Arthurian fables. including elements of the Grail myths. She has been criticized for inaccurate portraiture of the familial beliefs and myths contained within her plants. and for the unsystematic choices of elements and their Reconstruction into a extremely volatile but slightly unresolved moral landscape. This unfavorable judgment is incognizant of Cooper’s advanced refashioning or â€Å"creative reconstruction† of the beginnings. In the flowering of her existence. she integrates a cosmology whose in writing model is inspired byEden Lostand whose foundational doctrine. founded on the strength of Love and Justice. is fundamentally Christian. incorporating an operating system established on the irrefutable Torahs of High ( Moral ) and Wild ( Natural ) Magic. She borrows Herne the Hunter and the Grail from Celtic narratives and miscellaneous fables. adding new characters such as the Walker. the Rider and Bran. Both her modern-day characters and the Old Ones lives straddle human and supernatural being ( Beckett. 92 ) . Her supporters battle against opposing forces called the Dark. Throughout the series the Dark is lifting in Britain. wishful of going powerful one time once more. The Old Ones. who seem to be similar to Christian angels. must force the Dark back as they did before in Arthurian times. This battle between good and evil is a aboriginal subject ; antediluvian. yet of all time present. Will Stanton. Cooper’s main supporter. plays a unequivocal portion in this conflict between good and evil. As the last and youngest of the Old Ones responsible for the ordinary universe which is mostly nescient of them. Will goes through pursuits and escapades in which the intent of the Old Ones is revealed. learns the traditional knowledge that is his birthright and becomes established as a individual of power. traveling frontward with Bran. King Arthur’s boy to suppress the Dark ( Kipps. 82 ) . The Drew kids besides begin their ain pursuit for the Holy Grail. the one which Christ used at the Last Supper. and which Arthurian fable provinces that Joseph of Arimathea brought to Glastonbury. startling King Arthur’s Knights of the Round Table to get down their hunt for that doomed and sacred object. Existing within this context of Arthurian stuffs is the unfinishedPercevalof Chretien de Troyes which tells of these escapades and is a beginning. along with Malory. that Cooper referenced for her books ( Interview 1 ) . One author of the Grail fable starts his long heroic poem in a manner that besides will hold resonance in Cooper’s plants when both Will and Merriman echo his words. His short foreword provinces: â€Å"Every act has both good and evil consequences. Every act in life outputs braces of antonyms in its consequences. The best we can make is thin toward the visible radiation. † Naming the Arthurian Legend the cardinal myth of Western Culture. Joseph Campbell views the Grail as a â€Å"reflection point of integrity between that civilization and nature † ( 197 ) . InOver Sea Under Stone.as Cooper employs the Grail motive. she draws in the British with the Drew children’s quest throughout Cornwall. She is besides interested in Merlin as a figure associated with this fable. Thus the Drew kids learn eventually that their great uncle is really Merriman Lyon. a fame professor. The youngest kid Barney starts turn overing words about. finally doing a deeper connexion as he states: â€Å"Merriman Lyon†¦Merlion†¦Merlin† (Over Sea. Under Rock. 218 ) . With his vast and thorough cognition. Merriman can be viewed as the Jungian original of the Wise Old Man. Indeed. later in the series he becomes identified as one of the Old Ones. those apparently immortal existences chosen to support the Light from the force of Dark in the universe. Described as â€Å"something antediluvian. but without age or end† (Over Sea. Under Rock. 9 ) . the figure of Merriman Lyon takes on greater significance in the ulterior volumes of the series. when his relationship to the Arthurian mythos is to the full known. Not merely a usher and guardian to the kids. his function now doubles. with a switching individuality in this universe and an immortal one as a great Godhead of the force of the Light. holding powers over clip and nature as he travels through clip to demo Will the ways of the Old Ones and brings the kid of Guinevere and Arthur to the present century to populate in Wales. Just as Arthur could non hold been king without Merlin/Merriman. so Wil l. Bran. and the Drew kids need him for way. This Old One is genuinely the mythic ace Merlin in his transcendency of infinite and clip ; one who wise mans and inspires his charges ( Spivack. Staples 22 ) . Associated with Merlin is Hawkins. his surrogate boy and devoted retainer. InThe Dark is RisingHawkynss learns that his maestro was willing to give him for the good of the Light. This cognition infuriates him and he turns against Merlin. Although Will has met Hawkins in the yesteryear. he besides recognizes Hawkynss in the present as the Walker. a adult male who dwells on the peripheries of society. The Walker is a kind of Wild Man. a mediaeval character type which Tolkien borrowed from the Finnish and uses to great consequence in his narratives. frequently transforming the figures. In bend. Cooper. who is much indebted to Tolkien. borrows this figure. besides transforming him for her ain intents. The Wild Man is the archetypical foreigner. the sneak on the border districts between the natural state and the tame. exiled either by his fellow work forces or his ain misanthropy. Just as Tolkien created a misfit named Turin. a narrative of particular poignance sing an orphan whose calamity need non hold happened ; so excessively does Merlin’s further kid Hawkins non hold to fall into the Dark. By the clip he dies. nevertheless. he becomes redeemed and embraces both the Light and his maestro. Another character who possibly can be seen as a fluctuation of the Wild Man is Caradog. the evil husbandman who shoots Canis familiariss inThe Grey King.wild because Brenin Llwyd channels his evil powers through him ; a adult male who rages over non maintaining Gwen ; a adult male who lets others take control of him: â€Å"there was in Caradog Pritchard’s eyes †¦the speedy flash of madness†¦ as human power was swept aside by the awful power of the Grey King † (The Grey King.155 ) . In the mode of a Wild Man. he does non work usually and runs amok of conventional society. Merlin is frequently accompanied by a numinous figure known as the Lady. She greets Will inThe Dark is Risingas he passes through the great carven doors which go from one clip to another. to get down the first phase of his quest. In this book her association with nature and ancient Celtic mythology is emphasized. At Merriman/Merlin’s side she is described as little and vastly aged and â€Å"fragile as a bird† (Dark is Rising. 43 ) . The bird imagination is repeated subsequently when Will sees a heathen ceremonial known as the Hunting of the Wren. During this service a group of male childs carry the organic structure of a Wren on an Hedera helix covered bier ; as he observes. the Wren is transformed into the Lady. a ‘small. all right boned adult female. really old. delicate as a bird. robed in blue ( Cooper. 174 ) . She can alter forms. doing others to oppugn her individuality ( Hourihan. 172 ) . But in the last book of the sequenceSilver on the Tree. her individuality as the Virgin is obvious. She appears to one of the kids in a vision. drifting on the air. delivers a deep message to assist them in their battles against the Dark. and at a climatic minute in the conflict appears once more. looking now neither immature nor old. and have oning a robe ‘blue as early forenoon sky’ (Silver on the Tree. 258 ) . This image implicitly realizes the submersed tradition of the great goddess and the power of the female rule. but the images of the Lady are 1s of co-opted power. She is reduced to a cosmetic presence. a shining figure on the fringe of the structural form ; action and achievement seen to be the privilege of males ( Hourihan. 173 ) . Though the lady gives him favour. to guarantee the success of his pursuits Will must hold six circles quartered by crosses. These round images besides appear in a Grail narrative that has overtones of Herodotus as Peronnik. a crude version of Parsifal. additions ownership of a circle of captivation. It delivers a saddle horse to him during his quest for the desired bowl and lance. In similar mode. Will besides has a Equus caballus appear and enable him to get away the evil Rider and his round cross AIDSs him in get awaying immorality. One version of the Grail narrative has Peronnik run into a Corrigan ( a supernatural figure ) beside a charming apple tree. and addition from him an apple in order to foster his quest for sovereignty. Will has to run into the immorality and powerful Grey King. In another escapade three knights visit a land that is a Waste Land. merely as Will and Bran visit the Lost Land. At the Waste Land a gilded circle matching to a circle of sunshine is given. Other correspondences to the ring of sunshine besides occur. The youngest is marked in some sense as replacement to the Grail land. and a rock circle is given to him ( Anderson. 99 ) . Such a rock circle. possibly a philosopher’s rock. is besides given to Bran. boy of King Arthur at the terminal of the series. Cooper read widely on the mythology of the pre-Christian Britons for her fantasy sequence ( Thompson Interview. 1 ) . The myths are arranged in much altered signifier in mediaeval Welsh manuscripts such as theRed Book of Hergest. theWhite Book of Rhydderch.theBook of Anerinand theBook of Taliesin. Because the Welsh had been Christians for many centuries before their former mythology was written down. their Gods had long been changed into male monarchs and heroes of the yesteryear. The prose narratives from the White and Red Books are known as theMabinogion.Several narratives in peculiar bear relevancyto The Dark is Risingsequence. Two have Arthurian subjects ; and while Arthur is non so much a character in this series. he looms as a overarching presence which establishes a context within the novels. leaving specific significance. Culwych and Olwen is a 9Thursdaycentury folklore narrative found in theMabinogion.In this narrative Arthur appears to assist his cousin Culwych accomplish assorted pursuits to win Olwen. Culwych has to obtain two enormously fleet Equus caballuss. the White and the Black ( besides the colourss of Equus caballuss in theDark is Risingsequence ) to assist him in the hunting of Twrch Trwyth. the enchanted Sus scrofa who was one time a male monarch. This quest serves to obtain the comb and scissors which are between his ears so that Ysbaddaden’s hair may be dressed and Culwych may get married. The narrative besides contains extended accounts of topographic point names the characters pass through as Twrch Trwyth and his followings lead the heroes all over Wales. Ireland and Cornwall before being defeated. Besides in the First Branch subdivision of theMabinogion.Pwyll. Prince of Dyfed loses a boy. who is brought up in secret and restored when grown to be a chap. This resembles Cooper’s creative activity of Bran and his meeting of Arthur. Pwyll besides visit’s the ‘not-land’-the land of the dead. a wonder of a land under the moving ridges. In mediaeval Welsh literature this is a topographic point that can be visited by travellers. It contains a battalion of otherworld hounds and a beautiful adult female.The Spoils of Annwdrefers to the expedition Arthur made to this land. which is something like the ‘lost land’ Cooper’s characters journey to in their mission to get the better of immorality. That lost land is Cardigan Bay. a topographic point that invokes both the lost Atlantis and the ’not land. ’ This land was lowland. reclaimed by King Gwyddno Garanhin. The land was drowned. caused to stay submerged everlastingly when the breakwater broke. In add-on to the Hunt for Twrch Trwyth. there is a great trade of other runing mythology in Welsh literature. In the First Branch of theMabinogi.a hunted hart is the method by which the hero Pwyll. Godhead of the Arberth. encounters a Grey Man. Arawn. swayer of the underworld Annwn. Although the hart itself is non of supernatural beginning. it forms the nexus between the kingdom of the worlds and the Gods. Will’s brother brings him a hart caput back from Carnival and it is the agencies through which he encounters the Rider. an evil member of the otherworld. Pwyll encounters otherworld Canis familiariss. reflecting with ruddy ears. Will and Bran see similar animals that are non of this universe and they besides encounter the Grey King. Sing the females in the series.The Dark is Risingsequence revises the feminine. As the female constituent of the quest. Jane’s. intuitive power become as of import to the successful decision of the narrative as her brother Simon’s reason. The mystical feminine. later to be personified by Gwen or Guinevere. becomes a dominant feature in the 3rd bookGreenwitch. The ancient rite of the Greenwitch. which brings fortune to the small town. is shown to affect the ignored spirit of Wild Magic. depicted as emotion unacknowledged and disregarded. and tied into a feminist perceptual position ( Beckett. 92 ) . Cornwall’s ancient birthrate ritual environing the Greenwitch invokes much great-goddess traditional knowledge. The devising of the enchantress is described as woven of Pomaderris apetala. hawthorn and European mountain ash and attended merely by adult females. The colour viridity was besides associated with the Celtic underworld. Because of her unselfish want for the Greenwitch’s felicity. Jane receives her secret. This birthrate image has guarded the manuscript that was dropped in the sea when the Grail was foremost identified inOver Sea Under Stoneand restores it to Jane. The mysticaldegree Fahrenheiteminine besides appears in the Lady of the Sea. a fluctuation of the Arthurian Lady of the Lake. Nimue. Tethys. powerful swayer of the universe of wild thaumaturgies. maps as as the kernel of a nature which is wholly elemental and unconcerned with good and evil. ( Gordon-Wise. 107 ) . InThe Grey KingGuinevere appears as Gwen. a beautiful miss from the mountains who captures the Black Marias of both Owen Davies and Caradog Prichard. This reflects her mystical quality of attractive force. Although her criminal conversation is non ignored. and she ends in a convent. Guinevere has a kid Bran who will assist to rouse the six slumberers. win the aureate harp and push back the forces of Dark. ( Gordon-Wise. 107 ) . The concluding book in the series.The Silver on the Tree.one time once more shows Jane as the archetypical feminine. As Bran. Will. and the Drew kids prepare for a confrontation against the Dark. Jane communicates with a cryptic lady. besides known as the Lady. the Virgin. the Great Mother. The Lady’s recitation of â€Å"Jane. Jana. Juno. Jane† ( 88 ) . enables Jane to move as a medium of which enables Bran to utilize the crystal blade to cut the flower from the mistletoe. therefore get rid ofing the powers of dark. At the decision of the novel Arthur acknowledges the Lady as kept woman of high thaumaturgy. ( Gordon-Wise. 107 ) . Other imagination within the sequence besides have connexions with original beginnings. The medievalist Tolkien. who as antecedently mentioned. was much admired by Cooper. knew and recognized the importance of music as an â€Å"anthropomorphic world and creational stuff in many mythologies. † The medieval construct of â€Å"music of the spheres† was grounded in antediluvian and classical doctrine. so through early Christian authors. up to its eventual standardisation by Boethius in the 6Thursdaycentury. This power of music appears frequently in Celtic and Welsh myth and the playing or hearing of music is frequently a span between the universes. The Judaic/Christian tradition featured music in the cosmogonic play through its description of music’s power in the Psalms and Proverbs. and the Final Judgment in the Book of Revelation ( Chance. 182 ) . When Tolkien uses music as the creational binding force that sets in gesture the full play of Earth. Cooper imitates him. using heavenly music to fix for the same undertaking: â€Å"A whispering music drifted to their ears. really distant and swoon. but so sweet that they strained to hear it better. yet could neer catch more than a intimation of the delicate elusive tune (Silver on the Tree. 103 ) and once more. â€Å"The mountains are singing and the Lady comes. † Musical imagination occurs one time more as Bran and Will stand on the top of a hill. poised like â€Å" anticipant instrumentalists. waiting for the first expanse of a conductor’s baton† ( 104 ) . The music continues with the images of visible radiation. Later. the Sleepers are awakened by the playing of the harp and get down siting toward the concluding conflict. repeating the Horsemen of the Apocalypse. conveying the ruddy eyed hounds of day of reckoning with them. In another ancient mention. Gwdyion. the best narrator in the universe. is called Taliesin. He was an early Welsh bard. who recited narratives in the unwritten tradition. The Midsummer Tree inSilver on the Treeinvokes many symbols. In early pre Christian Europe trees were sacred landmarks. going assembly topographic points. suppliers of nutriment. and beginnings of healing. In Anglo Saxon Europe a great oak was a symbol of a mighty tree organizing the centre of a topographic point. This cardinal tree could be seen as the World Tree where Gods met. It could function as a nexus between work forces and Gods assemblage in the sacred grove. In early European mythology symbolic offerings of ale were poured at its root. It could besides be equated with the pillar in the sanctum topographic point which symbolized the centre of the universe ( Davis. 54 ) . It was appropriate for this sacred centre to be where the male monarchs should be chosen and the jurisprudence recited. This jurisprudence decreeing whether Bran can contend is pronounced against the tree inThe Silver on the Tree. The original original for the tree was set up at Creation in the Garden of Eden in the signifiers of the Tree of Life and the Tree of the Knowledge of Good and Evil. Originals within theDark is Risingsequence can besides be viewed through the Jungian position. As if the King Arthur mentions were non legion plenty in these books. even Jung had dreams about Arthur. which convinced him to pay more attending to Western spiritualty ( â€Å"Jung† . 2 ) . Jung’s corporate unconscious. which is composed of originals. are symbolic subjects which can be adapted to the supporters within these narratives. The shadow is an unconscious composite defined as the complete antonym of the witting ego. stand foring everything that the witting individual does non desire to admit within themselves ( â€Å"Jung† . 5 ) . When Will is presented with the fact that he is an Old One. it takes a period of accommodation. He stills sees himself as a mere male child. The fact even stays hidden from his household as he refuses to discourse his new individuality with them. Merely as he grows into this new individuality can he accept it more to the full. Once he has done so. he eventually admits that he is an Old One to his brother Stephen who scoffs and tells him he can retrieve him being born. Will responds. â€Å"in one sense merely. † now openly declaring his true ego and fixing the manner for his mission to name the Circle of Light to fall in forces against the Dark. The anima is the unconscious feminine constituent of work forces and the anima is the unconscious masculine constituent in adult females. Often when people ignore the anima or animosity composites. the anima or animosity competes for attending by projecting itself upon others. Jung’s account of this fact posits that this is the ground people can be attracted to certain aliens: they see their anima or animosity in them ( â€Å"Jung† 5 ) . Therefore Will hunts for the Lady. inquiring repeatedly where she might be. wanting to be in her soothing presence because of the manner she makes him experience. Jane. on the other manus. has to sublimate her intuitive feminine nature and talk rationally to herself refering the approaching battle against the Dark in order to face it. Although touched on briefly. the scene deserves some extra attending because Cooper evokes such a strong sense of topographic point. and the scenes are. in many ways about every bit of import as the characters themselves. particularly in the last two volumes which take topographic point in Wales. As Cooper provinces: â€Å"My topographic points are a piece of the Thames Valley and the Cliltern Hills. a piece of Southern Cornwall. and more than either. a piece of mid Wales. around Cader Idris. on the southern border of Snowdonia† ( The Lost Land. 1 ) . Cader Idris means Chair of Arthur in English. It is a mountain with a typical profile that dominates the southern part of the Snowdonia. This was the place of the Grey King and the turning point in the pursuit for the aureate harp of the visible radiation. the topographic point where Will and Bran got caught in a fire. The Dysynni ; Valley is green with a level vale and contains Craig y Aderyn. the stone of the birds. This topographic point provides the agencies to happen the harp. As Will and Bran go inside the stone. they are judged by the High Magic. After they solve the conundrums. they are free to have the harp and journey to Tal y Llyn. the Pleasant Lake in readying to wake the slumberers: â€Å"By the pleasant lake the slumberers lie†¦yet singing the aureate harp shall steer to interrupt their sleep and offer them sit. † Tal Y Llyn is a most dramatic topographic point with steep mountain inclines behind the caput of the lake portraying a most dramatic background. InSilver on the Treethe group walked on the rim of a fantastic vale. seeing line after line of the ancient hills of Wales. This topographic point is Cwm Maethlon or the Happy Valley. As the group travels on. they come to the Bearded Lake. the topographic point where â€Å"the mountains are singing and the Lady comes. . † Upon her reaching she informs Jane that Bran and Will must do a pursuit to the Lost Land. John Powys. a Welsh writer. radius of the thaumaturgy of the land inOwen Glendower: â€Å"The really geographics of the land and its climatic distinctive features. the very nature of its mountains and rivers. the really falling and lifting of the mists that waver above them. all lend themselves to a degree unknown in any other part to what may be called a mythology of flight. This is the secret of the land. which may in bend be described in a spiritual sense- a signifier which requires a numinous landscape haunted by mysterious sunseeable Presences† ( Hooker. 17 ) . And so these unseeable Presences do look within this fantasy sequence of Cooper’s as she formulates a wholly new universe. both of her ain devising and recreated from ancient myths and fables. By superposing her inventions upon tradition. and working from that context. she enables the reader to see theMatter of Britainthrough a richer and more complex model. Her fantasy series succeeds because it is grounded in the existent universe. yet besides acknowledges the other universe. Plants Cited Anderson. Graham.King Arthur in Antiquity.New York: Routledge. 2003. Beckett. Sandra. erectile dysfunction.Contemplations of Change: Children’s Literature Since 1945. Westport. Connecticut: Greenwood Press. 1997. Campbell. Joseph.The Power of Myth. New York: Doubleday. 1988. Cooper. Susan. Over Sea Under Stone. London: Cape. 1965. The Dark is Rising. New York: Athenaeum. 1973. Greenwitch.New York: Athenaeum. 1974. The Grey King. New York: Athenaeum. 1975. Silver on the Tree.New York: Athenaeum. 1977. Opportunity. Jane.Tolkien the Medievalist. London: Routledge. 2002. Davidson. H. R.Myths and Symbols in Pagan Europe. Syracuse. NY: Syracuse University Press. 1988. Gordon-Wise. Barbara. Guinevere in Modern Fantasy. New York: Greenwood Press. 1991. Green. Miranda.Animals in Celtic Life and Myth.New York: Routledge. 1998. Hooker. Jeremy.Imagining Cymrus. Cardiff. Cymrus: University of Wales Press. 2001. Hourihan. Margery.Deconstructing the Hero. London: Routledge. 1997. Hunt. Peter.Understanding Children’s Literature. London: Routledge. 1999. â€Å"Jung. †Wikipedia. 4 May 2006.hypertext transfer protocol: //en. wikipedia. org/wiki/Carl_Jung Krips. Valerie.The Present of the Past. New York: Garland. 2000. Scofield. William.English Literature from the Norman Conquest to Chaucer. New York: MacMillan. 1931. Slocum. Sally. erectile dysfunction. PopularArthurian Traditions. Bowling Green. Ohio: Poplar Press. 1992. Spivack. Charlotte. and Roberta Staples.The Company of Camelot. Westport. Connecticut: Greenwood Press. 1994. â€Å"Susan Cooper’s Wales†The Lost Land.4 May 2006. hypertext transfer protocol: //thelostland. com/scwales. htm Thompson. Raymond. â€Å"Interview with Susan Cooper. †Interviews with Writers of Arthurian Literature. 4 May 2006.World Wide Web. lib. Rochester. edu? Camelot/intrv/cooper. htm