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The Winter Prince
The Winter Prince
The Winter Prince
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The Winter Prince

Rating: 4.5 out of 5 stars

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Brave Medraut is a fitting heir to the throne—but he can never be king—in this fantasy retelling of the legend of Mordred from the author of Code Name Verity.

Medraut is the eldest son of High King Artos, and would-be heir to the British throne—if not for an unfortunate circumstance of birth. Instead, his weak and unskilled half-brother, Lleu, is chosen as successor. Medraut cannot bear the thought of being ruled by the boy who has taken what he believes is rightfully his.
 
Consumed by jealousy, he turns to Morgause, the high king’s treacherous sister, who exploits Medraut’s shame and plots to take over the throne. But when Medraut discovers Lleu’s inner strength and goodness, he finds his battle is not just with the kingdom, but with the demons inside himself. Now he must choose where his allegiances truly lie.
 
Perfect for readers of Robin McKinley and Jane Yolen, The Winter Prince is an “engrossing” novel that “fantasy lovers and devotees of Arthurian legends will enjoy,” from an author who has won honors ranging from the Carnegie Medal to the Edgar Award (Booklist).
 
This ebook features an illustrated biography of Elizabeth Wein including rare images from the author’s personal collection.
 
LanguageEnglish
Release dateJul 9, 2013
ISBN9781480433199
The Winter Prince
Author

Elizabeth Wein

Elizabeth Wein was born in New York, and grew up in England, Jamaica and Pennsylvania. She is married with two children and now lives in Perth, Scotland. Elizabeth is a member of the Ninety-Nines, the International Organization of Women Pilots. She was awarded the Scottish Aero Club's Watson Cup for best student pilot in 2003 and it was her love of flying that partly inspired the idea for 'Code Name Verity'. 'Rose Under Fire' is the sequel to her widely acclaimed title.

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Rating: 4.4 out of 5 stars
4.5/5

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  • Rating: 5 out of 5 stars
    5/5
    I loved this. It was a bit different from what I expected (much shorter than I thought, for one thing), but I loved it all the same. Other reviewers have mentioned that neither Medraut nor Lleu are particularly sympathetic characters; but I sympathized with both, and unexpectedly with Artos. There really isn't much action to speak of, but I found the relationship dynamics to be riveting; for me that was reason enough to keep turning the pages--I'm such a sucker for father-son/brother relationships in fiction. And this book is gorgeously written, the prose obviously reminiscent of Rosemary Sutcliff's--in fact, I found this a much more readable book than Sutcliff's Sword at Sunset. I look forward very much to continuing the series.
  • Rating: 2 out of 5 stars
    2/5
    I actually only liked it two stars, because I don't like Arthur stories, or political intrigue, or stories of dysfunctional families. But I could tell it was beautifully written - I'd be willing to bet lots of people would be thrilled to discover it. I do have the first three and since I would like to attempt to keep them together I would be glad to ship them to you (gratis, USA) if you ask before I release them via bookcrossing.
  • Rating: 2 out of 5 stars
    2/5
    I did not like this book, I don't think it's appropriate as a Children's book.

    There are very dark themes, sexual inuendos that hint at incest (between mother/son, brother/sister and brother/brother), jealousy, rage, twisted obsession, guilt

    The story is hard to read, not just because of the darkness, but also because of time jumps and perspective of the narrator.

    Not one of my favorites, although I see that lots of people loved it. I'm just not one of them.
  • Rating: 5 out of 5 stars
    5/5
    I took a chance on this one and I'm so glad I did. It's beautifully written, and deals with very dark and mature topics in quite a delicate way. There's a lot going on here that is never stated overtly, which might be why this book is considered YA. The main characters are the children of Artos (King Arthur): Medraut (Mordred), Lleu, and Goewin, and the story is told by Medraut. Typically, Mordred is the villain in Arthurian legend, and while Medraut is no saint, he is much more a tortured soul and victim himself than is usually portrayed. He still does bad things, and feels completely justified in doing so, but seeing his perspective makes him a much more intriguing character. His mother, Morgause, is utterly terrifying, and readers will probably be quite disturbed by her. Overall, this is a heart-wrenching read, driven almost entirely by character (and family) dynamics. I love it.
  • Rating: 5 out of 5 stars
    5/5
    I love King Arthur legends. Love, love, love them. I took a class the beginning of 2013 that completely revolved around the legend and where we read everything from The History of the Kings of Britain to more modern pieces like The Mists of Avalon. Our range of topics touched on everything from the myth itself and its historical roots, to the treatment of women, to the use of symbolism to reinforce the story. When I saw that The Winter Prince was being offered for review, I recognized Elizabeth Wein's name from her more recent works and decided to give it a go. I am glad I did, for while I didn't enjoy her more recent books as much as I wanted to, my time spent in The Winter Prince was so very rewarding.Read the rest of my review at The Lost Entwife on Dec. 2, 2013.
  • Rating: 4 out of 5 stars
    4/5
    After finishing The Winter Prince, I had to stop for a minute to think about it -- do I like it? How much did I enjoy it? The style is very interesting: it seems to be straight first person narration at times, but when Medraut's mother appears, it becomes apparent that he's addressing the story to her. It deals with one of the issues that lie at the heart of the Arthurian mythos, often blamed for the fall of Camelot: the incest between Arthur and his sister. It works out the issues, in a way, binding Medraut to his brother, Lleu, and neutralising him, though it's not an easy road for either of them to walk.

    It also deals with the issues of abuse, a horribly powerful link between Medraut and his mother, and even between his mother and his brothers. He has to deal with the tangled feelings that come when at one moment someone will hurt you horrifically and the next comfort you, when they'll say it's for your own good or that you did wrong, to excuse them torturing you. Medraut's confusion is well done: I couldn't predict what he would do and how, I couldn't predict whether he would go free of her at the end or not.

    With the point of view it took, I suppose it'd be hard to show more of Medraut's mother and her motivations, but I found that somewhat difficult to swallow, of everything in the book. So casually evil, toying with other people as though they're not real... Goewin and Ginevra are positive female characters, to an extent, though the latter does very little after the opening of the novel. Goewin hints at a way she could become like Medraut's mother, so there is a bit of a sense of circumstances making her the way she is, but still... I did want more, I wanted less senseless evil and more a sense of someone made the way she is by being wronged and so on. Turning Morgause and Morgan Le Fay and their like into evil witches is one of those ways of pathologising female power that people don't seem to guard against.

    The Winter Prince can be a quick, easy read, but there's darkness at the heart of it -- which is, I suppose, countered by the end.
  • Rating: 5 out of 5 stars
    5/5
    I think fans of Megan Whalen Turner might love this one.

    It is an amazingly original Arthurian retelling, from the point of view of Medraut (Mordred), who is -- and struggles to be-- an awesome character, despite the way his circumstances, and particularly his mother, have twisted him.

    The conflicted relationship between Medraut and his half brother, Lleu, is fascinating. It struck me -- particularly when I was reading the ending -- that they are both rather like Megan Whalen Turner's Eugenides. Lleu is the bright, wild, indomitable spirit, and Medraut is the deliberate one, with hidden skills and flashes of unexpected emotion.

    That said, this is a much darker book that "The Thief," or even than "The Queen of Attolia."
  • Rating: 5 out of 5 stars
    5/5
    "Medraut, look at me." You cupped my face in your hands. "You are the true prince of this land," you said softly. "If you could see yourself! Dangerous, yet of curious grace and beauty; such chaos in your eyes. If it were in my power you would be heir to all—"Mordred lingers like a shadow on the fringes of Arthurian legend, coming front and center only when the tale calls for him to rend Arthur's kingdom. There have been several modern retellings that focus on the perspective of this fascinating character, and Elizabeth Wein's re-imagining tells his story in an interesting blend of first- and second-person narration. Medraut (for so he is called here) addresses his words to his mother Morgause as a justification, an explanation for what he finally resolves to do. It is a deceptively simple tale, with so much left unstated but heavily present in the undercurrents of the characters' relationships. Medraut has always known that because of his shameful birth he will never be High King after his father Artos, but this knowledge becomes fraught with confusion and pain from the day of his half-brother Lleu's birth. Medraut feels a pull toward his beautiful, sickly brother but struggles with a complex jealousy, not just of Lleu's kingdom but of "your birthright without shame, your clean lineage." And Lleu's casual cruelty, vulnerability (due to ill health), and occasional trust and affection only further complicate the relationship.The linchpin of the story is the relationship between Medraut and his mother Morgause. There is a horror there that is all the stronger for being hinted at rather than explicit. There is still some ambiguity (at least in my mind) about the extent of the relationship and what it all means. Medraut keeps everyone at arms' length — the reader included, which is interesting because within the frame of the story, Morgause is the reader. (In a way, we the actual readers are conflated with Medraut's wicked mother, reading her mail, so to speak... interesting.) Though being born of incest is certainly shameful, I get the impression that there is something else, something even uglier and more shameful underneath. Wein artfully describes Medraut's hatred of himself and Morgause as a passion that can turn in on itself at any moment, and it's terrifying.This is only loosely Arthurian, as there is no Lancelot, and the characters are unconstrained by their archetypes. Those in focus are very well written: Medraut, Goewin, Lleu, Morgause. We see very little of Ginevra or Artos; the lens is very tight. This is a much grittier Britain than the shining world of Camelot, the Round Table, chivalry and quests. The people work hard to survive, and Medraut works in the mines. Artos is an engineer as well as a king.Though she is dealing with very ugly subjects, Wein picks her way among them gracefully, never reveling in their sordidness. Much is left unsaid of the incest and rape and physical/emotional abuse, but their effects give the story its shape. One thing I found fascinating is how certain characters wield their sexuality as a weapon to humiliate and shame — and how this cruelty is perpetuated by characters who had previously been victims themselves. The cycle never ends on its own, does it?Reading this story felt like watching light reflected on the surface of a pond, with little insights dropped in like stones to create confused ripples of light and darkness. I understand why Wein has been compared to Megan Whalen Turner; though their stories and characters are very different, they share an elliptical style of prose that uses its brevity to say so much. Both create a very real narrative tension through their unpredictable and yet entirely believable characters.The Winter Prince is an outstanding addition to the Arthurian tradition, and I'm glad to have discovered Wein's books. I will certainly be continuing the series.
  • Rating: 5 out of 5 stars
    5/5
    Beautiful alternative to the classic Arthurian Legend. The characters are brought to life in a new captivating version that still seems to fit in nicely with the story we know. The Mordred and Morgause characters are particularly compelling!
  • Rating: 4 out of 5 stars
    4/5
    This is one of those books I feel evil for not liking as much as everyone else. Woe.This story is about conflicting jealously and love between brothers. Main character has a choice between the mother who had him by intentional incest, then had incestuous relations with he the child himself, abused him, and is trying to use him to get revenge on her brother, versus his really much less screwed up and pretty nice father's side of the family. Decisions, decisions.But of course, the workings of our minds are never so simple as all that, and this book does a much better job of showing that than I'd ever expect of a YA novel. This is a story of psychological conflict and growth. I'd give a lot to know what I'd have thought of this book when I was younger. Though often in these kinds of situations the 'right' actions for a character to take seem so simple and easy to us we want to shake them senseless with frustration, the decisions the main character has to make never feel easy. Very, very well done.But hey, I read this cause I saw it was about brothers and brothers are cuuuuuuuute. ...Uh, which is to say I was fixin' for a story about their relationship and their love for each other and the tests it is put through by their jealousy. Which I guess it is, but not as much as you'd think. It's more about loyalty and honor than any personal love between them. Even the envy feels more about the other's general situation than anything personal. The characters were flawed and human, but while this well-written conflict between them will stick in my mind for a while, the characters didn't really make a very lasting impression. The book is simply more about the main character's internal fight to break free from his mother's control and overcome his jealousy towards his brother than about the characters' relationships and personalities. If that's all you're looking for, you're probably going to adore this book, but evil as I feel, and impressed in some ways as I am, I just can't say I enjoyed it all that much (as it prerhaps deserves? ^_^;). I was hoping for intensity between two, what I got was internal frustration in one. The book was also a little heavy on the general-narrations-on-how-things-have-been-going-these-last-weeks/months/etc-rather-than-letting-us-know-in-scenes for my taste, as well. Kind of surprising for a book this short.
  • Rating: 4 out of 5 stars
    4/5
    Below is my review of the audiobook version of the Winter Prince, narrated by Basil Sands (Curtis Brown, 2013), and is reprinted with permission from AudioFile Magazine.Basil Sands's impassioned delivery brings new life to this 1993 book steeped in Arthurian legend and mystery. The ongoing struggle between Medraut, the eldest and bastard son of the king, and Lleu, the kingdom's legitimate heir, is intensified by Sands's dramatic and measured narration. Medraut, the story's narrator, speaks with gravity and a heavy sense of foreboding, while Lleu sounds youthful and often petulant. One finds a small fault in the voicing of the scheming Queen Morguase, whose portrayal is neither as menacing nor as enchanting as the story demands. What begins as a battle of strength and knowledge between brothers ends as an intense and compelling battle of mind and will--with the fate of a kingdom at stake. Wein is also the author of CODE NAME VERITY. L.T. © AudioFile 2013, Portland, Maine [Published: DECEMBER 2013]
  • Rating: 4 out of 5 stars
    4/5
    This is a companion novel to “A Coalition of Lions". Sequentially, it comes before ‘Coalition,’ but both are fully stand-alone novels – where ‘Coalition’ tells a story from the perspective of the princess Goewin, ‘Winter Prince’ is her brother Medraut’s story. But more than his story, it is an exploration of love and jealousy.
    The milieu and characters of the book (very) roughly correspond to the classic Arthurian tales – Medraut is Mordred, bastard child of incest between Artos and his sister Morgause, and for that shame, denied the princehood that he sees as his right. His younger half-sibling, Lleu, is the heir – which not only causes emotional conflicts with his brother, but with Lleu’s twin sister, Goewin, who is, ironically, the one probably most suited to rule.
    Not only is Medraut resentful toward his brother, but he is caught is a welter of difficult emotions concerning his cruel, politically conniving and perverse mother, Morgause, who has more of a hold over him than anyone may realize…

    I said it about ‘Coalition,’ and I have to say it even more strongly about this book – I really don’t understand why someone made the decision to market this as a YA book. The theme of incest and its emotional consequences in this book is rather ‘mature,’ and the language, while evocative and beautiful, is not juvenile.

    From reading these two books, I have to say that Wein is, (at least so far in her career), an extremely underrated writer – I hadn’t heard of her before I picked up one of these, admittedly only because I liked the cover! But her writing has impressed me quite a lot… I’m not surprised to discover on the web, she has her PhD in folklore… (a particular interest of mine). I expect good things from this author in the future!
  • Rating: 5 out of 5 stars
    5/5
    "Medraut, look at me." You cupped my face in your hands. "You are the true prince of this land," you said softly. "If you could see yourself! Dangerous, yet of curious grace and beauty; such chaos in your eyes. If it were in my power you would be heir to all—"Mordred lingers like a shadow on the fringes of Arthurian legend, coming front and center only when the tale calls for him to rend Arthur's kingdom. There have been several modern retellings that focus on the perspective of this fascinating character, and Elizabeth Wein's re-imagining tells his story in an interesting blend of first- and second-person narration. Medraut (for so he is called here) addresses his words to his mother Morgause as a justification, an explanation for what he finally resolves to do. It is a deceptively simple tale, with so much left unstated but heavily present in the undercurrents of the characters' relationships. Medraut has always known that because of his shameful birth he will never be High King after his father Artos, but this knowledge becomes fraught with confusion and pain from the day of his half-brother Lleu's birth. Medraut feels a pull toward his beautiful, sickly brother but struggles with a complex jealousy, not just of Lleu's kingdom but of "your birthright without shame, your clean lineage." And Lleu's casual cruelty, vulnerability (due to ill health), and occasional trust and affection only further complicate the relationship.The linchpin of the story is the relationship between Medraut and his mother Morgause. There is a horror there that is all the stronger for being hinted at rather than explicit. There is still some ambiguity (at least in my mind) about the extent of the relationship and what it all means. Medraut keeps everyone at arms' length — the reader included, which is interesting because within the frame of the story, Morgause is the reader. (In a way, we the actual readers are conflated with Medraut's wicked mother, reading her mail, so to speak... interesting.) Though being born of incest is certainly shameful, I get the impression that there is something else, something even uglier and more shameful underneath. Wein artfully describes Medraut's hatred of himself and Morgause as a passion that can turn in on itself at any moment, and it's terrifying.This is only loosely Arthurian, as there is no Lancelot, and the characters are unconstrained by their archetypes. Those in focus are very well written: Medraut, Goewin, Lleu, Morgause. We see very little of Ginevra or Artos; the lens is very tight. This is a much grittier Britain than the shining world of Camelot, the Round Table, chivalry and quests. The people work hard to survive, and Medraut works in the mines. Artos is an engineer as well as a king.Though she is dealing with very ugly subjects, Wein picks her way among them gracefully, never reveling in their sordidness. Much is left unsaid of the incest and rape and physical/emotional abuse, but their effects give the story its shape. One thing I found fascinating is how certain characters wield their sexuality as a weapon to humiliate and shame — and how this cruelty is perpetuated by characters who had previously been victims themselves. The cycle never ends on its own, does it?Reading this story felt like watching light reflected on the surface of a pond, with little insights dropped in like stones to create confused ripples of light and darkness. I understand why Wein has been compared to Megan Whalen Turner; though their stories and characters are very different, they share an elliptical style of prose that uses its brevity to say so much. Both create a very real narrative tension through their unpredictable and yet entirely believable characters.The Winter Prince is an outstanding addition to the Arthurian tradition, and I'm glad to have discovered Wein's books. I will certainly be continuing the series.
  • Rating: 5 out of 5 stars
    5/5
    When we studied King Lear in my AP English Literature class, my teacher taught us a memory trick to differentiate between the two sons of the Duke of Gloucester: the “g” in Edgar stands for “good” and the “m” in Edmund stands for “mean.” Edgar is the loving, legitimate son; Edmund is the scheming, nefarious bastard. In Act 1, scene 2, Edmund gets his moment in the limelight with a famous monologue about how he has been cheated out of his inheritance that ends with the line, “Now, gods, stand up for bastards!” But when we studied this monologue, my teacher drew our attention to the first line: “Thou, Nature, art my goddess; to thy law/My services are bound.” What does Edmund mean here? What could a two-timing, opportunistic young noble mean by being bound to “Nature”?In an interview about her debut young adult novel, The Winter Prince, Elizabeth E. Wein said it was a story about jealousy. Set in fifth-century Britain, The Winter Prince straddles that precarious balance in that ever popular genre of Arthurian novels between historical accuracy and mythical resonance. Narrated by Mordred, Celtified as Medraut, and directed to his mother, Morgause, he tells the story of how he came to terms with his jealousy for Lleu, Artos’s (Arthur’s) legitimate son. The novel, also, however, begins with an epigraph of the opening line of Edmund’s monologue, and the reader discovers that not only is The Winter Prince an exploration of bitter sibling rivalry but also of loyalty and redemptive nature of love.The novel is written in first person, except for the Prologue, which, in addition to being written in third person, is not rooted in a specific time and place, unlike the narrative proper, which is bound by the natural rhythms of the pagan year. We meet Medraut as a boy, trying to process the birth of his twin half-siblings, legitimate heirs to the throne of Britain. He feels out of place, or more properly, he has no place: not in court and not in his own family; he even feels he had no right to be born, and his father saying that someday he may do what he likes, “choose to serve me, travel, return to your mother in the Northern Islands” certainly doesn’t help (Wein 4). Everyone expects things of him, but no one claims him as their own. No wonder the boy thinks that he “had never felt anything strongly enough about anything to hate it or love it” (4). But his little half-brother, “something repulsive or attractive, hideous or wonderful” inspires in him a feeling he cannot name (4), and it is that child who reaches out and takes his hand (5).The beautiful first line of chapter one denies the child-Medraut’s feeling of placelessness: “When I left the Islands I had a vague image of myself fleeing from you with the speed and surety of a hart, straight to my father’s estate in Camlan” (7). The adult Medraut rejects his mother (tellingly referred to as “Godmother”) and returns to his father, firmly calling Artos’s court “home” (7). He then spends the first third of the novel growing into the place his father provides him in the court and in the family: King’s Companion, power behind his heir’s someday-kingship, and father-brother to his half-brother and half-sister, Lleu and Goewin. When Lleu is crowned as heir apparent on his fifteenth birthday, Medraut feels he has found his place and his peace as his brother’s keeper, telling his half-sister, “There is no end, only the beginning of something else” (55).“A month later this isolate, close-woven world of mine was shattered” (56). His mother, his Godmother, comes to court with his other half-brothers. “Mother and son, flame and shadow, image and opposite—witless I stood before you and let them all see how alike we are” (57). “So, my child,” she mocks him, “you have found your place here just as you left it?” (57). He says he has, but the middle section becomes a struggle to define his loyalties as he admits the depths of his ambition to himself for the first time. Tried, tested, and humiliated in the eyes of his father, half-brother, and half-sister, he faces the ultimate test when his mother tempts him to kidnap Lleu and ransom him for the kingship. “I am pledged to serve the light,” he says. Godmother Nature replies, “You are pledged to me first” (141). But even Morgause, who has her eldest son bound to her in a much more intimate and insidious way than Shakespeare’s naturalistic Nature, cannot trust Medraut, even if he is like “a ruined piece of parchment scrawled over and over again with your name, so many times it has become illegible” (143). For we see that this woman, a prisoner in her brother’s house and forgotten in her own realm, has bound Medraut in a circle of violence and shame that paradoxically can never bind to her in loyalty. Kingship, power, and allegiance are not ultimately at stake here, which Medraut vaguely realizes when Lleu rejects him as a brother and a human being and he makes his choice: “What I did now was of my own choosing, not out of any loyalty that I must break or affirm. I said bitterly, ‘Godmother, I will hunt for you.’” (144).This hunt for the Bright One, the kidnapping of the Prince of Britain, transcends a political struggle; it is the emotional climax of what has been, forgive me, a family affair. Medraut, now honest about his ambition, becomes aware of his loneliness. And once again, as before, something is offered and something is received. “So the new year began” (202).

Book preview

The Winter Prince - Elizabeth Wein

Prologue

HE SAT ON THE floor before the hearth with his knees against his chin, the flames at his back, and warily watched his father’s face. His own face was in shadow, and though the April night was too warm for him to be so close to the fire, he did not move away. He did not want his father to see his face; the shadows made him feel safe.

He was an odd, adult child: thin but with a carefully controlled grace, with blank, unreadable, dark blue eyes and hair so pale it sometimes seemed white. His appearance unnerved people; this gave him uncanny strength at times, though not now. He had to think his words through several times before he could gather the courage to ask quietly, Now that your wife has children of her own, will I go back to my mother? His voice was soft and low and musical, and it too was somehow disturbing. He knew that his father had been waiting for him to ask that.

Do you want to go? his father asked in return, leaning forward a little in his chair so that he might see his son’s face more clearly.

The boy shrugged slightly. He was thinking: No, I am too much like you now; she will not want me back.

When you first came here the decision was made by your mother and me. But you were not more than a child then; now you are old enough to decide for yourself.

His son asked carefully, What do you want?

I would like you to stay, his father answered.

So you can watch me?

He did not mean to say that aloud. He hugged his knees and felt himself to be ugly and sinister, with his pale hair and barbed questions.

No, little one, his father said patiently. I don’t need to watch you. And I do not care for you any less now that I have two more children.

Who are legitimate. The child finished the sentence for him with the word that his father would not use, and hearing himself speak so made him feel still more unnatural.

They are very small, even for twins, his father said. The boy, the second one, may not live. If he dies you remain my only son, and you are the eldest whatever happens. You are of less importance in name alone. In trust and wisdom you can be as far superior to anyone as you dare make yourself.

The child said nothing. His father’s words were calm, unaccusing and unquestioning, but he did not know how to answer them. He wished he did not have to make his father apologize for the children the man had wanted for so long. The air from the open window smelled cool and wet, and occasional stars glimmered through high, windswept clouds; the boy felt too hot, and would have liked to lean out the window into the soft spring night. But his thoughts burned through his head, flashes of lightning in the dark, and if he moved he might strike something. He held quiet. My father, I don’t want your children to die, he said, not certain he meant this, but certain his father wanted to hear him say it. You need not excuse them to me. They had more right to be born than I had, anyway.

All who are born have a right to be, said his father. But I am sorry for your sake. We all told you she would never have any children. Even she thought she could not.

And now she has two, said the boy, and thought, I wonder what she feels? He had grown to like his father’s wife, stubborn and practical and quick to laugh; she spoke openly and directly, meant what she said and did not mean more than she said—so different from his own mother, who frightened all who knew her with her subtleties and mysteries.

His father spoke his name gently and said, You must not be angry with her.

I’m not, the child said, and added, but not aloud: She is not the one who threatens me, it is the second twin, the little boy who might not be strong enough to survive. But my father, you are as much to be blamed for his existence as she is.

He felt bruised and sore. He did not want to be in his father’s house, belonging in no way except as a member of his father’s family, and not really belonging there, either. Through the storm in his head he thought suddenly, I am tired.

His father spoke again. My child, it will be a long time before those two small ones will be a threat to you. They cannot walk, they cannot talk, they cannot think.

Not yet, the child answered.

His father suddenly left his chair and laid heavy, gentle hands on his son’s shoulders, forcing him to look toward the light. When you are older I will make certain that you have the chance and challenge to prove yourself, he told his child. Eight years, ten years—wait that long. Then you can do as you like, choose to serve me, travel, return to your mother in the Northern Islands. Or having done all that, you can come back. You can always come back. Only wait. By that time you will be adult, confident and competent, and the twins will still be children. You won’t need to envy them, and I do not ask you to love them. Only I ask you to wait till they are grown before you decide to hate them.

The child stared at him with a still, emotionless face. Behind his blank eyes and white lashes he thought numbly, That is true—they are too small to envy or fear. He had never felt strongly enough about anything to hate it or love it.

But when he thought of the little boy, his father’s youngest and most important child, some strange emotion burned through him, unrecognizable, alien. He did not know if it was hate or love or both, or something utterly different from either. It was true that the boy was barely three weeks old and smaller than any human being he had ever seen; but set in that small face were eyes so dark and radiant that they frightened him. He felt he had never seen anything more beautiful than the eyes of his small half brother, but he could not tell whether that beauty was something repulsive or attractive, hideous or wonderful.

Thinking about this, he was startled by a fleet but brightly vivid vision of how one of his fingers had been suddenly grasped in his little brother’s unthinkably small ones, blindly trusting and certain. He looked up at his father and said in a low voice, I will try to love them. You saw me take your son’s hand.

Be accurate, my young marksman, his father said. He took yours.

I

The Marksman

WHEN I LEFT THE Islands I had a vague image of myself fleeing from you with the speed and surety of a hart, straight to my father’s estate at Camlan. The morning I left I was certain, Godmother, certain beyond anything you could have suggested to make me doubt it, that I could return to Camlan as though returning home: though it was fourteen years since the twins were born, six since I left Camlan and two since I came to you. When my father asked me to go to Brittany six years ago he had expected me back in a matter of months, and after that when I was traveling in Africa and Byzantium his letters always anticipated my return. He was not happy that I chose to remain with you over those next two summers—you, his sister; you, his enemy, treacherous and faulted as the ceiling of a mine shaft.

The morning I left you I was so desperate to be away, and free, that the very direction of the wind seemed a portent to guide me. The first fisherman I spoke to was leaving that day for the mainland, and I already carried with me all I intended to take: my hunting knife, the three bows I had crafted that summer, and a satchel containing the precious and delicate physician’s instruments I had bought the year before from the Eastern sea merchants. Except these, all the possessions that I cared for I had either left in Camlan six years ago or had sent there directly as I acquired them. There was nothing to hold me to the Islands, nothing except love or fear of you. And I would not submit to either of these.

The journey’s start, after the long summer of pain and illness, seemed so clean and true and swift that it did not seem possible I might be rash to travel so late in the year. The wind was perfect; we sped past the barren cliffs of Hoy, and the day was clear enough that we could see Cape Wrath looming in the distance. I have never made such a rapid journey to the mainland. I felt I had some god’s own special benediction: such luck: away so quickly and secretly. Once on the soil of the mainland it occurred to me that my legs were still not very strong, that I had hundreds of miles of empty moorland to cross, and that winter was coming on. But I would not go back.

That was in October. It was well past New Year’s when I arrived in Deva, the city and port closest to Camlan. There was a heavy snowfall that same day. I had not encountered snow even when I was crossing the Caledonian highlands, but now that it was steadily cold there came snow with a vengeance. I stayed in Deva several days, just to watch the harbor freeze over completely, locking its ships into my father’s city: Artos the high king’s city. Deva is beautiful, full of Roman ghosts. The harbor is smaller than it once was, because the river is silting up. But the streets are paved, and there is a ruined theater that they use as a marketplace. There is even a bathhouse where they still use the old hypocaust for heat. Artos probably had a hand in the last; Gofan, the master smith at Camlan, calls him our engineer king. While I was in Deva, Artos himself arrived to inspect the harbor and make sure the old city walls were able to endure the ice. It was the first I had seen my father in six years. After the months of trudging through a wilderness of black peat mud and chill rain, alone, the pure dry cold and my father’s heavy hand on my shoulder seemed more intoxicating than wine, the snowbound streets more holy than the clustering wind-scoured cells of Iona.

It is about sixty miles from Deva to Camlan, and Artos sent me on ahead of him. I went as his emissary and as his son; I went because he could not in good conscience send anyone else into that weather, and because I wanted to go. He planned a route for me, making certain I would have food and a bed each night, so the last few days of my long journey were made in relative comfort. And the countryside was achingly familiar. After Caledonia’s bleak mountains even the high moors to the east seemed gentled by the snow, not shadowing but cradling the Mercian plain—beautiful. The country around Camlan is all field and forest, riddled with old Roman salt and lead mines, except in the village just two or three miles west of Camlan, where there are copper mines that Artos has set working again. The mines and the village existed long before the high king. When he rebuilt the Roman villa nearby and made it his home, the local people named the new estate Camlan, the champion’s village. The original cluster of farms and householdings they now speak of simply as the village of the elder field. The jutting cliff and scarp where the copper mines are they call the Edge over Elder Field, and it dominates the horizon even more than the distant high peaks. Camlan nestles securely between the Edge and the peaks, protected from all but the worst of weather; the forest is usually abundant with deer, the fields bountiful. It was all snow-blanketed when I arrived, uniform in whiteness.

They had had a hard summer, even as we did in the Northern Islands, in the Orcades. Everyone I met on the way seemed thin and worn: grim, haggard, hungry. They were cold, too; their winters are usually milder. It was dusk when I finally came to Elder Field, and I might have stopped for the night with Gofan at the smithy; but by now the road was so familiar that I could have walked it with my eyes shut, and I was overcome with a childish wave of homesickness for Camlan. I could not possibly wait until morning to walk the last few miles. I shared the evening meal with Gofan and Marcus, his new apprentice, and they lent me a lantern to guide me through the dark to the high king’s estate.

The old Roman villa at Camlan was drab; it was cold and decaying. The echoes of its former splendor only exaggerated its cheerlessness. The tiled floor still held between its cracks the dust and pollen that had settled there during the dry summer; mildewed grain littered the corners of the central atrium, which had been used as an emergency storeroom during the haphazard harvest that was gathered in the threatening shadow of a sudden storm. Part of the hypocaust had collapsed, and someone had tried to block off the drafty hole in the atrium floor with disused masonry and rubble left over from the villa’s original restoration. The old leaded glass windows, so perfect and unusual, had not been cleaned for many months. Even the braziers gave little heat. The Great Hall was warmer, with its roaring fire and close company, but after months of solitary silence and open space I found it crowded and airless almost beyond my endurance. I felt at home in the villa, ruined as it was; I knew those corridors, where each lamp bracket fits, the artist’s little flaws in the tiled border of the atrium mosaic, the staring glass eyes of the Christian portraits there.

No real welcome awaited me. Of course, they did not expect me, and those of the household who were still awake were preoccupied with some present crisis. It did not seem the right moment to inquire if I could still use my old room. When my father’s queen hurriedly received me I told her I would stay in the Great Hall where most of the household slept. Ginevra agreed, apologetically; they had been using my room for storage, and it would have to be cleared out before I could use it. You’ll be more comfortable in the Hall, she added. It’s warmer there. Artos is the only one who knows how the hypocaust works; we can’t mend it till he returns. And—she paused; and I could see her setting her jaw so that she would not falter—and I think Lleu is dying. He has been ill all winter, and today he is scarcely able to breathe. Otherwise we should have given you more of a welcome, Medraut.

Lleu, the Bright One: the high king’s youngest child, his heir, and my half brother. I had forgotten how sickly he was. His sister Goewin had always been healthy, and fiercely protective of her small twin brother. They were eight when I left. Lleu’s letters had stopped more than three years ago, before I came to the Orcades. He would be almost fifteen now, almost adult. Still so frail, racked by asthma, torn through and through by even the slightest chill wind or damp day? And Artos counted on him to be the next high king.

Is Aquila still your physician? I asked.

Yes. But he’s hardly slept for three days, Ginevra told me, still unfaltering.

I said cautiously, I might help him.

We have all been helping, she answered.

I meant as a physician, I said.

Truly? She was surprised, perhaps pleased. Well, you had to learn something in six years away from us! You do seem wiser than you did. You look the same, but there is more to your silence than there used to be.

Ginevra has the smooth, open face of a child, and she is too short and stocky to be beautiful. But she is skilled as a mapmaker, speaks three different British dialects, and knows most of the villagers by name; she manages the household with undisputed authority. Her quick appraisal made me suddenly and unexpectedly shy, though it was for a moment only. She could not have noticed. I do not color, or blanch, when I am ill at ease. I glanced down briefly at the cracked, tiled floor beneath our feet, and asked if I might see Lleu.

The corridors were dark, for Ginevra could not afford to keep lamps burning in the halls. Since Lleu had been ill he was sleeping in the antechamber to his mother’s rooms, the only rooms in the house that were being steadily heated. He seemed to be asleep, or senseless, when we came in, struggling for breath with eyes clenched tightly shut; but when I sat on the cot next to him and spoke his name he tried to answer, though he could do no more than gasp and choke, lying wretchedly trapped in his ridiculous frail body. Even so I was momentarily astonished by his beauty. It struck at me as it had when I first saw him, when he was an infant. I think it is the single characteristic in him that I have always envied, will always envy. He is graceful and slightly built, like an acrobat or a cat, with black hair and brilliant dark eyes; but the eyes were closed now, the fair skin dry and fiercely hot to touch, and he did not know me.

He did not even know his mother. She tried to comfort him while I felt his forehead, gauging his fever; but when my hands moved to his throat, testing the swollen glands there, he fought me, wildly trying to tear my hands away. You want to strangle me, he managed to whisper, coughing and struggling. I stared at Ginevra, perplexed.

Go gently, Medraut, she cautioned wearily. He is afraid of everything.

I bent down and said firmly, close to his ear, Little idiot. I’m trying to help you. I brushed his own hands aside, trivial, and lifted him till he sat upright coughing and sobbing against my shoulder. With one hand I rubbed his back firmly and with the other stroked his damp hair; and gradually the coughing subsided, and he could breathe a little. He slumped against my side, whimpering and exhausted. Keep him sitting, I murmured to Ginevra. I can make him a drink to ease his cough. Where can I find water?

In the next room, she told me. You may use anything—there’re herbs and honey, as well.

I found all I needed; the room was a dressing chamber converted into a little clinic, and Aquila seemed to be keeping almost all his medicines and equipment there. The suddenness of what was happening worked on me like a drug. I could move and think with precision, knowing with accuracy what I could do for Lleu. I forgot the winter journey, the misery of the last months with you, my own uncertain welcome in my father’s house. I had the sure certainty of my knowledge, and the healing in my hands. I went back to Lleu with the drink I had mixed, and held him while Ginevra coaxed him to swallow. Still he fought, this time refusing to drink when he noticed the sharp and bitter taste beneath the honey, strangely alert for all his delirium.

Don’t send me to sleep, he begged desperately, quiet and fervent. "I want

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