COLM McELWAIN – JAMES CLYDE
AND THE DIAMONDS OF ORCHESTRA – 2012
Do not enter this book believing
that the adventure will come to a full end. You would be mistaken. This is a
first volume OF a series though I cannot tell you if it is going to be two or
three or more volumes.
This being said you will find the
book interesting. This novel is written for an audience between 12 and 16, when
young people, and I think mostly boys, are still very much uncultured in the
fantasy genre of literature written for young teenagers. If they were they
would react like adults would and that’s where I am going to start because the deeper
meaning comes from there, but it would destroy the pleasure of these young teenagers.
This story is original but it is
great patchwork. The human world on top and a fantasy world under, that’s a
classic in teenage literature. It is first active in Stephen King’s The Talisman (1984) in which King is
associated with Peter Straub. The human world on top is polluted and
irresponsible and that has severe consequences on the fantasy world underneath
in which the young teenager hero has to retrieve a talisman to save his mother
in this world. Strangely enough the human world is superior in the fact that
what happens in it determines what happens in the world underneath. Stephen
King will use the fantasy world again in The
Eyes of the Dragon (1987) that takes place in what is the fantasy world of The Dark Tower. But it is mostly self-contained;
the superior human world is not really used as such. In the series of novels
known under the generic name of The Dark
Tower (started in 1982, hence before the two titles I have just quoted, and
officially terminated in 2004, with yet an extension in 2012) is fundamentally
based on that division of the world in two, the real human world, essentially
New York, and the fantasy world that is going through a deep crisis of death
due to the mismanagement of the human world, yet this fantasy world has no real
future since the vast picaresque journey officially to salvage it ends at the
exact same point as when it started, hence it starts all over again, hence it
is circular, not cyclical, since there is no change between the starting point
and the finishing points that are exactly the same.
None of that in this book where
the human, world is an escape or refuge world and nothing else for the
endangered people in the world underneath.
You will of course think of
Tolkien or even George Martin, but in these authors there is no superior human
world. The whole story is absolutely contained in the fantasy world. There are
many authors along that line. It is in fact a whole genre per se.
But you cannot avoid thinking of
C.S. Lewis and his Narnia saga. The great difference is that in Narnia we are
dealing with books that are all self-sufficient. Each volume brings the story
of the volume to a complete end. It starts most of the time from this world,
concerns young teenagers who pass to the other world where they have some
adventure and they come back to this world when the adventure has come to a
close. You can have some follow-up elements from one volume to another but they
are not basic, meaning they do not build the architecture of each volume, they
build a wider architecture you do not need to enjoy each volume.
There is one essential
difference. This here volume is a first volume that does not bring to a close
the various plots and stories. It calls for a subsequent sequel, which is
slightly frustrating, but which is in full similarity with Stephen King’s The Dark Tower, though maybe more
suspenseful since the epilogue of this here volume is really dropping all
business in absolute suspension.
The world underneath is divided
between a white Zara and a black Darken, the two antagonistic parts of this
fantasy world known as Orchestra, whose inhabitants are Orchins. There are two
kingdoms that are hostile and we enter the story when the two kings have been
eliminated, when the son of the good Queen Belle has been saved into the human
world and when the bad Queen Abigail is dominating the whole Orchestra but yet
misses one element to be supreme, one of three diamonds, the one that was
evacuated into the human world along with Queen Belle’s son, James Clyde. The
whole story is to bring James Clyde back to his Zara throne as the Savior, to
bring the green diamond back to this Orchestra world. And we find ourselves in
the middle of the war started by Queen Abigail to conquer the green diamond, to
kill James the Savior and to establish her power as paramount with the help of
a sorcerer, Imorex. You can note I totally push aside the plot elements that
take place in the human world. So far they are not significant in the Orchestra
plot.
It all ends up as unfinished
business at all levels, but rather advanced in a couple of domains.
This black and white world cut in
two spheres is the typical world Salman Rushdie imagined in his story book for
young teenagers Haroun and the Sea of
Stories (1990), and I am sure it has an older model or pattern in Lewis
Carroll’s Alice’s Adventures in
Wonderland (1865) with the Queen of Spades against the Queen of Hearts as
an adapted extension of the original story that only has one bad queen, the
Queen of Hearts, and further becoming the good White Queen and the bad Red
Queen in the more than famous adaptation by Walt Disney. We cannot attribute this
split to Lewis Carroll himself but it was introduced rather fast into the story
by various adaptors and plagiarists. We could also think of J.M. Barrie’s Peter Pan (1904) though then the two
worlds are really defined differently, one being the world of normal life when
awake, and the other the world of children’s dreamlike fantasy.
When all that is said – for
adults – we can wonder about the meaning of the story. Such stories are always
based on simple ethics that can be made more or less complicated, subtle and
refined. In this case it is an all-out opposition good versus bad; white versus
black; knights versus monsters (Volen and Dakotas);
human and empathetic versus inhuman, un-human and by principle cruel; faithful
and trustworthy versus treacherous and deceitful. Then the only subtleties you
can have are about the level of intelligence of the characters (swift, smart,
brilliant, etc., or the opposites) and the level of self-pride that can reach
total vanity. That makes simple-minded people and heroes. They could be worked upon
slightly more in depth.
The reference to twelve knights
is a real schematic symbol because there is never any list of them. But being
obstinate I found the following names: Gabriel, Joel, Lance, Joseph, Nathan,
Tobias, Eric, David, Noah, Wilmore, Ethan, Matthew, to which we have to add
Kila, which makes twelve since Wilmore is dead, and moreover Gilbert cannot be
considered as a member, though he used to be their leader, since he is the
traitor. We can note of course the pattern of twelve containing a traitor and
that traitor being taken out we come back to twelve again and the twelve
knights are at the service of the Savior, James who is of course the brother of
Jesus, close enough, from a father who was Jacob, hence the same reference
again.
More complex is the diamond
trinity. Since the first one we meet (in fact the third one of the trinity) is
associated to the color green we would like it to lead to the three audiovisual
colors Red Blue and Green, in which green is naturally the third diamond, the
last diamond, the missing diamond. Our author here knows these three colors
since he must have a computer that tells him regularly Red Green Blue or RGB. But
we saw the second diamond when it was stolen by Gilbert, then transferred by
Imorex to Queen Abigail, and it never had anything more than a glint and no color.
Too bad. This trinity would be enriched if it were a trinity of colors, the
audiovisual trinity or the painting trinity (Red Yellow and Blue). But it is a
trinity nevertheless and as such a pattern, the most distant and ancient
pattern of all divinity in all civilizations: the divine is always ternary in a
way or another, three gods for example, and the most famous trinity in European
mythology is the Triple Goddess that became the three weird sisters of Shakespeare.
We cannot of course ignore that it is also the basic nature of the Christian
god, though the Jewish god is binary and the Muslim god is absolutely unitary.
To thus bring a ternary pattern
in a basically binary world is quite significant and it reflects the impossibility
of our modern world to clearly choose between one way or the other, between
progressive reform or conservative reform, constantly questioning that binary
choice with ternary election results that create a third power somewhere that
slows down or blocks the basic binary choice. Maybe after all it is not that
simple and the world should not be reduced to two contradictory antagonistic
elements. Note in this story the earth, the world of the humans is the ternary
element, the escape and the refuge from the binary world underneath.
All those are patterns and they
all are significant and signifying. They build in the child’s mind some fuzzy
structure in which there is a dual existential swinging or swaying movement
between two poles and yet some kind of magical, supernatural and superior
escape from this into a third universe. That should build in the readers the
idea that you always have to keep some option in store in case the basic dual
options did not work. Between two black and white (or black and red if you
prefer) extremes it is most of the time a complex combination of the various
hues and shades of the in-between grey(s) that is the alternative, the escape,
the refuge. This is the main post-post-modern consciousness of our world. After
the fundamentalisms of the 19th century that outlived themselves up
to the early 1950s we thought there was no truth but only a myriad of points of
view, and now after 50 years of post modern belief we come to this simpler
approach that humanity is always divided between two contradictory and antagonistic
extremes and yet the truth can only be in-between in the palette of all the
grey(s) you can imagine.
Between the extreme red and blue,
infra-red and ultraviolet, the existential truth is in the vast spectrum of
yellow and green provided the two extreme margins are never completely
annihilated, even if they could ever be.
This is rich literature for
teenagers, though it could be make even richer by working more on the
in-between shades of plot, characters, genders and monstrosities. The next
volume might enrich this vision. Let’s hope so.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 5:11 AM