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The Life of Sir Aglovale de Galis Paperback – July 30, 2000


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Product Details

  • Paperback: 320 pages
  • Publisher: Green Knight Publishing; 1st edition (July 30, 2000)
  • Language: English
  • ISBN-10: 1928999085
  • ISBN-13: 978-1928999089
  • Product Dimensions: 8.4 x 5.4 x 0.8 inches
  • Shipping Weight: 1.1 pounds
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #2,521,419 in Books (See Top 100 in Books)

Editorial Reviews

Review

Housman's style is archaic, but not impenetrable. I was reminded of the William Morris fantasies... -- Realm of Fantasy, April 2001

About the Author

Clemece Housman was born in Bromsgrove, Worcestershire in 1861. She was known more as an artist than a writer. SIR AGLOVALE DE GALIS is her chief novel. She has also written a short story called THE DRAWN ARROW(1923) and a novella called THE WERE-WOLF. She died on December 6, 1954 in Glastonbury

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12 of 12 people found the following review helpful By Elyon on October 10, 2000
Format: Paperback Verified Purchase
Written in 1905 by Clemence Houseman, the sister of poet A.E. Houseman and playwright Lawrence Houseman, this is the tale of one of Arthur's lesser knights, the elder son of King Pellinore, who appears but briefly in Mallory's "Morte D'Arthur." In Houseman's story a seriously flawed character, the author uses Aglovale to portray the psychologically darker side of the Round Table, the envy and at times murderous contention for acclaim and recognition that haunts Arthur's court. A tale of individual and social spiritual decay, it follows the struggle of Aglovale to discover redemption when his actions have already damned him, not only in the eyes of his peers, but more importantly in his own estimation as well.
This is not a work that will appeal to everyone. The author has intentionally mirrored the writing style of Mallory, whom in the text she acknowledges as "The Master." The archaic, and some might say unnecessarily dense, style of writing is bound to deter the casual reader, while at the same time delighting fans of Mallory, and the narrative reads as if a lost chapter of the latter author's work. Nonetheless, for anyone who has loved the Morte D'Arthur, as well as the scholar of Arthurian romance, this will be a valuable addition to the literature surrounding the legend, and a book not to be missed. The publisher, Green Knight, who is devoting itself to the publication of out of print "classics" in Arthurian romance, as well as contemporary works of fantasy based upon the legend, has done a great service in reissuing this long unavailble title.
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6 of 6 people found the following review helpful By Terrence Lago on October 23, 2002
Format: Paperback
_The Life of Sir Aglovale de Galis_ is one of those rare birds, an Arthurian fantasy that really works. Call me jaded, but it was
refreshing to read an Arthurian fantasy not rooted in the
pseudo-historical Celtic vein that is currently drowning the market. This is a book that unapologetically hearkens more to Malory than any other of the classic Arthurian tales. Her world is very much rooted in Malory's anachronistic feudal Arthurian court as opposed to a 'realistic' 6th century historical setting. Despite this she manages to evoke a startlingly realistic medieval world that never really existed.
It was written at the turn of the last century by Clemence Housman (sister of poet A.E. Housman) who also wrote the short story 'The Were-wolf'. This Arthurian tale details the life and (hard) times of one Sir Aglovale de Galis, a minor player mentioned only once or twice in Malory, most notable for the fact that his two more famous brothers were Sir Lamorak and Sir Percivale. Sir Aglovale, as is often the case for elder brothers saddled with more prominent younger siblings, has a tough go of it and ends up becoming something of an embarrassment to the court of Arthur and his family. This is as much due to the fact of Aglovale's unflinching morality and truthfulness as it is to the more egregious errors he makes along the way, since he is unwilling to turn a blind eye to the rot that lives at the core of the Arthurian dream. Housman manages to play a careful balancing act with this aspect of Camelot. She certainly isn't a starry-eyed dreamer portraying an Arthur who can do no wrong, but on the other hand she doesn't allow the ambiguity of Camelot to completely destroy the dream that it represents.
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