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Theseus and the Minotaur (1988)

Theseus and the Minotaur by Lenoard Everett FisherRetold and Illustrated by Leonard Everett Fisher

Fisher begins with a map of the part of the world in which our story unfolds. Ancient Greece is the locale, and we very clearly shown the passage from Athens to Crete, from Crete to Naxos, and lastly, the tragic final voyage from Naxos back to Athens.

My criticism of Hutton's version of the story was that I felt he spent too much time explaining the entire circumstances behind the existence of the minotaur and the nature of the tribute, and not enough time wandering through the bowels of the labyrinth in search of monstrous prey. Fisher exacerbates this, but also manages to give a more satisfying end battle sequence.

We begin with the birth of Theseus, and are told that, "at the moment of his birth, his father, King Ageus of Athens, buried his favorite gold-hilted sword and sandals under a great rock."

When Theseus is big and strong enough to move the rock, my sword and my sandals will be his. Then and only then will Theseus be my heir and successor!

I tried doing something similar to this when Arlo was born, but Melinda didn't go for it.

At first glance, this set-up appears to be a direct precursor to the Sword in the Stone from the King Arthur legends. On the next page, Theseus has indeed grown to such a stature that he is easily able to lift the rock and retrieve the hidden items. Now he must travel to find his father, who has since remarried and had another child. Along the way, Theseus must battle a giant named Procrustes and two robbers named Scinis and Sciron. Word of his battles spreads and he is able to return to his father's court, a hero!

But the joyous reunion is short lived. His father tells him of tale of the King Minos, of his labyrinth, and of the beast that lives there. "Its dark passages are endless and confusing. No one escapes the labyrinth, not even the Minotaur. Soon I must send the fourteen. Pity them, and pity us to have to bear such burdens."

Theseus knows what he must do.

I like the way Fisher paints the interior of the labyrinth. Very dark, very foreboding. Though there are no forking paths, it appears to be only one singular and gloomy passageway. It only gets one painting, too, for with a turn of the page later, Theseus has found his prey. I know the whole conceit of Ariadne's ball of thread is that he does not have to get lost, but can find the Minotaur straight away, but still, the child in me lusts after a truly terrifying sequence of a man lost in the bowels of the maze. Isn't that what you think of when you imagine the labyrinth?

Fisher's minotaur resembles a tall, strong man wearing an oversized bull mask, but he does manage to make him look terrifyingly enraged, and I love the description of their battle:

Quickly he backed away from the beast, holding his sword straight out before him. Again the snorting Minotaur attacked. It lowered its head and charged, hoping to pin Theseus to one of its great horns. But Theseus dodged the attack and came up behind the huge beast, chopping a blow that drew blood from the Minotaur's shoulder.

It goes on for several more sentences, in this way, and I could really imagine the fight the two of them must have had.

Finally, since this is the story of Theseus and the Minotaur, we know that things can not end happily. Ariadne and the rest of the prisoners are rescued, but that night the god Dionysus appears to Theseus in a dream, and commands him to leave Ariadne behind on Naxos so that he can marry her. Theseus does as he is told, which is slightly different than how Hutton interpreted the tale. Fisher's Theseus seems to be a real hero when it comes to giants and beasts, but at the first call of the gods, he cowers and asks no questions. His cowardice then indirectly results in the death of his father, who runs to the edge of the cliff and throws himself into the sea at the sight of the black sail on the returning vessel.

Part of the Greek Mythology series.

Links: Holiday House

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