The Silurian is Art

The Silurian: a Short Guide to What It Is and What It Is Not.

The Silurian is an original work of unprecedented free interpretation of the Arthurian myth. And in the creative writing process, I came to see that for myself, Bedwyr?s story was evolving into a fictional representation of the Eternal Love Affair our Western culture has had over many centuries with Arthur himself; the man, the legend, the myth: a love affair that manifested through Bedwyr?s own eternal love for Arthur. The Fox himself can literally be seen as that Eternal Love for King Arthur our culture holds. Bedwyr, that Love Affair personified. So in essence, what The Silurian is, is a love story, despite the story?s relentless intensity and darkness, which in itself, mirrors the Age in which the story is set. Yet The Silurian itself is not a Romance, not even a gay romance; it is not based upon the accepted Arthurian story of Merlin/Morgan/Lancelot/Guinevere/Arthur and the Knights of the Round Table. There is no magic; no wizards, no witches, no priestesses who commune with the great goddesses of the earth within enchanted forests; no fire-breathing dragons lurking in the mists, no mystical women lying about in ponds distributing scimitars that proclaim kingship, and no traditional King Arthur, presiding over the Round Table knights, who is cuckolded by his best knight and torn down by his son and/or his nephew, Sir Modred. In a way, The Silurian is almost unclassifiable, and ?Arthurian? is the only category I myself, as the author of these books, would place them in: my problem arises with the fact that no website where I host my books has an Arthurian genre category, so I?m forced to either list them under ?historical fiction? (which The Silurian Is Not), or within the Gay/Lesbian category, because of the lead character?s homosexuality. But really, the books don?t belong in any of those categories but its own. The Silurian is The Silurian. It is itself and nothing more: it is not a work of fictional military history; of armies or of military equipment and use in 5^th century warbands. It is not meant to be an accurate lesson in British Dark Age history, warcraft or weaponry; not even of Dark Age British society as it really was?it is fiction, full of the poetic licence required of Arthurian fantasy; yet a fantasy set within the harsh reality of the real world. A reader might not be far wrong in thinking The Silurian, in part, sets out to explain how the King Arthur legends arose from a real world where a real man named Arthur operated as a British warlord of his age. I think the story plays with that idea more than sets out literally to explain how Arthur of the Britons became the King Arthur of the mythical Knights of the Round Table idol?the ?explanations? of Arthur?s myth arose naturally within Bedwyr?s narration, as an expression of my own mental collection of Arthurian myths. (I hope these ?explanations? don?t appear too contrived, as they were never intended to be expressed that way. They just happened of their own accord as I went ever deeper and deeper into Bedwyr?s persona). And even as The Silurian story itself is of course fiction, the story?s context is as I said the real world, and that is why there is no magic. Not even the swords are magic; they are real swords, wielded by real men, in the real world?so in this sense, The Silurian is no different from any other work of fiction that bases its fantasy in the real world. Even the magical world of Harry Potter exists side by side with the real world of the Muggles. So The Silurian is not a work based on the traditional Arthurian cycle, and yet my story is loaded with many traditional Arthurian motifs that appear naturally through the events of both Arthur and Bedwyr?s real world story. The Silurian was not written for the traditionalist market, as I am not a traditional writer, but a non-conformist by personal nature, and there is no other way for me to write; I can only write my own books, in my own style, with original creativity. My Silurian books are a free interpretation based upon my own mass of Arthurian material?this material ranges far and wide, and eclectic; from the fiction of many, many other Arthurian genre writers, to the even more works of non-fiction that seek for the ?real Arthur? of Dark Age Britain, circa 5^th/6^th centuries after the Romans left Britain and the Saxons were beginning their rise upon British soil. Finally, ?Bedwyr Speak? I think I?ve written about Bedwyr?s way of speaking before; that is, The Silurian is a first person narrative, which means, the Fox can only tell about things that he knows about, things that he has experience of, and things that are relevant to him and those around him. First person narratives are famous for their limited point of view, that is, limited to the person who speaks the story. The Silurian is meant to be read as a spoken narrative; Bedwyr is telling you his life story, as speech. So the rhythms of my written words were dictated by Bedwyr?s way of speaking, true to the nature of his Celtic self, as to him, why say something in five words, when he can say it in ten? In his world, a speaker of a long winding story is highly valued, a story-teller who entertains his listeners on long cold winter nights before the lord?s fire in his hall. A world with no television, radio, movies, books or internet is to be filled instead with the voice of the Speaker of Stories that lasts well into the night, and again, long into the next. Bedwyr?s narrative is long because he is telling you the story of the course of his life, and Arthur?s. And because Arthur is such a massive V.I.P., this story cannot be anything else but epic. A saga of longevity. The irony for me as Bedwyr?s author is that when writing his voice I often found myself adding words to his speech, rather than deleting them. But in the end, and after the books were being read by modern audiences with short attention spans (or so I keep being told in various writers manuals), I was forced to admit defeat, and to introduce shorter sentences with more punctuation. In fact, a lot of the punctuation I use is a response to try to slow his speech down enough to be understandable, more than to be true grammatically correct punctuation usage, or even of true grammatically written words; the Fox does not care a flying fig about grammar, and I try as best I can to find some way to reach a balance between his natural ungrammatical speech and a good legible read. I do care that his story is readable, and I agree that a lot more editing would be good, but I no longer have the will or the energy to do so?after ten years of writing The Silurian, of editing ten and a half books, all over 100,000 words; of years of proof reading those ten and a half books and becoming utterly world blind in the process; of formatting for all the hundreds of different website requirements, of updating, rewriting, and just general authorial pain and suffering to be the Fox, I am as of now officially all burnt out?

Source: http://www.thesilurian.info/2013/06/the-silurian-is-anoriginal-work-of.html

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