Well, this is definitely not new, but I will still post here about it. I am currently reading The Once and Future King by T.H. White for my book group. This is one of those books that, one way and another, I thought I'd already done. I haven't. I may have read The Sword and the Stone-- in fact I'm sure I did, because it's familiar, and not just from the Disney movie of the same name. But I don't think I went on to the rest of the saga, though of course I did see Camelot, as everyone else of my era did. I just didn't know that the musical/movie was based on the work of White. The book, or actually four books, start out lightly and get progressively darker. I am very curious about where White was in all this. It takes awhile to write a four volume work, and White was writing this as Hitler was steadily overwhelming Western Europe.
I was surprised and delighted to find that the members of my book group were all quite taken with this work. I thought its fantasy element, especially in the beginning, might work against it. But no--they've agreed to stretch it out over a two month period so that we can all finish it.
I was listening to a podcast of a Q and A with Salman Rushdie today. He mentioned how the Orpheus/Euridice myth, which can be summarized in a paragraph, has a kind of nuclear reaction intensity, which is set off in hundreds of volumes of subsequent exposition, and I think the Arthur/Guenivere/Lancelot triangle has a similar explosive capacity. It has not been fully mined by White nor can it be fully exploited by anyone. It is our material, we westerners. I'm wondering what angle a post millennial writer might look at...because the book clearly states that both Arthur and Merlin are supposed to come back.
Megan's essay for the jacket of the Criterion Version of THE VIRGIN SUICIDES - https://www.criterion.com/current/posts/5573-the-virgin-suicides-they-hadn-t-heard-us-calling
13 hours ago