Study and Discussion Questions for A. A. Attanasio's The Serpent and the Grail
by Alvaro Nimiez
(reprinted with permission)
The story of King Arthur has been around for a thousand years
and in many variations. Do you think the author is justified in creating yet
another adaptation of this renowned legend?
The fourth volume of The
Perilous Order of Camelot reveals that the narrator of this series is Rna, a
clan woman 90,000-years-old and eldest of the Nine Queens of Avalon. Does her
supernatural perspective make the narrator more reliable or less?
The narrator tells us midway through the novel, “You are this: the serpent and the
grail—blue bunched bowels coiled hungrily in an upright pelvis, the overflowing
cup of the sacrum, sacred vessel of bone that is our humanity.”
In what way is The Serpent and the Grail about our
physical humanity? In what ways do the themes of carnal hunger and standing upright
come together in this story?
In chapter 12, the Norse god Odin tells us what he thinks about
the meaning of life when he is asked:
"Why must any of us live at all?"
The Furor nodded, satisfied. "I will tell you. You are
a Roman woman, and you will not understand me. I will tell you anyway. We live
so the stars can caress us. We live so that when we do perish the earth can
receive us into her sweet home. Yes, the earth that you call dirt is holy, and
she is sweet. Certainly, the world is cold, and we are its warmth. Who kindled
this fire in us? Know that and you will understand why the animals share their
wisdom with us: They curry our spirits during the hunt so that we may wear
their skins proudly and eat their flesh with joy. Joy! Do you hear me? Joy.
That is the location of life. Whatever happens, the one, simple truth of life
remains always unchanged. All our troubles and all our pain are always pathways
back to joy."
Is this a satisfying answer to why we live? Is joy ‘the
location of life?’
Aquila Regalis Thor—Arthor—accepts the variant spelling of
his name, Arthur, put forward by his enemy, King Wesc. The Saxon king had taken
offense that the Aesir god Thor’s name had been identified with a foe of the
Foederatus.
What does this tell us about the character of Arthur, that
he willingly changes his name to avoid insulting his enemy? Is this act of
renaming himself valorous—or a craven attempt to appease a fierce adversary?
Is the Christian faith respectfully presented in this
series? What are your thoughts about the unorthodox representation of angels
and demons as Fire Lords and Dark Dwellers in the House of Fog?
This series presents God as a female. How meaningful or
gratutitous is that?
Do the scientific concepts in the series enhance the story
or distract from the narrative?
The Serpent and the Grail concludes with a descriptive
passage of Avalon that appeared earlier, in Chapter 6: “The Future from Small
Things Grows:”
On high, verdant promontories,
waterfalls fell in quicksilver threads that never reached the ground: These
cascades blew away from craggy cliffs in wild vapors and broken rainbows,
disappearing in the air like a story that brims into nothingness on a book's
last page.
As the last line of this novel, the tense shifts into the
present: Why?
In Chapter 21, the Norse god Loki comments on a biblical
passage:
"’Lord, how long will the wicked, how long will the
wicked triumph?' I will answer that
Psalm's question for you Athanasius. So long as humans thrive."
Is Loki correct? Is evil an inherent part of human nature?
Attanasio and Athanasius are the same name at root. Is the
author placing himself in this novel? If so, why? Is his presence as Athanasius
meaningful or could this character have had a different name without affecting
the story?
How does this fourth volume compare to the other three?
The Perilous Order of Camelot is set in Roman Britain, five
hundred years before the usual depictions of King Arthur and his Knights of the
Round Table. In what ways does the historical accuracy of this fantasy series
contribute to the legend?
Did any of these characters seem real? Or are they all
mythic figures?
Would you like to see this series continued? Or do you
consider these four volumes complete?
As this series concludes, the narrator on Avalon—Rna the Ice
Age queen—asks: “Why did we create this
spell, our retelling of King Arthur's long-ago story and our news from Avalon,
except to summon you? … We need your help.”
What aid is the narrator requesting from you? Why does the
author move the story off the page and into the reader’s life? Is this
effective storytelling?
In an essay attached to The
Eagle and the Sword, the second volume of this series, the author writes: “The
Legend of Arthur is about violating boundaries. It is about sin and punishment:
the lost Grail, mad Merlin, the wounded Fisher King, Arthur’s sister pregnant
with his son, Guinevere and Lancelot’s adultery, and the flawed knights of the
Perilous Order.”
How does hidden sickness and sin become sacred in this
thousand-year-old legend?
The Yuma Fantasy Book Club traditionally concludes by asking
featured authors, “Why do you write fantasy fiction?”
A.
A. Attanasio replies, “Fantasy writing stakes its own territory in the mind and
then goes beyond the mind without forsaking thought, so it forces our hearts to
think.”
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