This novel was originally written by Alan Garner in 1965, from his own radio play. It features four young teenage children, David, Nicholas, Helen and Roland, who inadvertently break though the fabric of time and space at a weak point, to find themselves in another universe. The plot moves to and fro between the sprawling city of Manchester, and Gorias, the gateway to Elidor. Elidor is, as it sounds, a magical fantasy world; a world of beauty and goodness, a golden Utopia, as described by one of its inhabitatants, Malebron, but a world which is under threat from evil forces. Catalogue Titles Authors Readers Unabridged Fiction Classic Fiction Modern Classics Contemporary Fiction Stars Mossie Cassidy as Roland, Raffey Cassidy as Helen, William Rush as Nicholas, Stephen Hoyle as David, Toby Hadoke as Malebron and Fiona Clarke as Mrs Watson.

Unfortunately, Roland's big mistake was in visualizing his own front door when he sought an opening into the Mound of Vandwy. The treasures act as a beacon for the forces of evil from Elidor and they soon come come round peeping through the letter box. The darkness grew,' said Malebron. 'It is always there. We did not watch, and the power of night closed on Elidor. We had so much of ease that we did not mark the signs - a crop blighted, a spring failed, a man killed. Then it was too late - war, and siege, and betrayal, and the dying of the light.'[...] I was completely entranced by the tale of four children and their rusty relics, which opened a gateway to another world. It seemed like a cool and edgy version of “The Lion, the Witch and the Wardrobe” but set in the real world, or at least a world that I could identify with. I enjoyed the story, it's full of imagination and no small amount of dark threat. Celyn enjoyed it too, though the passage of 50 years, combined with her own limited experience of the world, did require me to explain a number of things.Alan Garner (b.1934) was born in Congleton, Cheshire, and brought up in Alderley. Local history and mythology have both been significant influences on his work, which is rooted in the landscape of his childhood. Elidor was his third novel, and the only one to be illustrated, by Charles Keeping. The mythology of Elidor is woven from several different strands, including Norse, Celtic and Anglo-Saxon mythology as well as themes from Arthurian legend and medieval fables. Garner has described the book as the ‘anti-Narnia,’ and unlike the high fantasy of C. S. Lewis, Elidor is grounded in the grit of the real world. The novel was also partly inspired by a visit Garner took to the slum clearances in Salford, where he saw children playing behind a ruined church and demolished houses. Elidor and the Golden Ball [1] from Richard Colt Hoare (1806), The Itinerary of Archbishop Baldwin Through Wales, a translation of Giraldus Cambrensis (1191), Itinerarium Cambriae ran from pool to pool of the street lamps and sometimes they glimpsed a shadow, and sometimes there was a tall silhouette; and there was always too much darkness. When they turned the corner the white fluorescence of the railway station at the end of the road was like a sanctuary. They drove themselves toward its glass and concrete, as if ...danger of spear-edge and shield-rim would be powerless in the neon glare." In Elidor, the mythical and legendary sources of the motifs are clear ; the wasteland and the maimed King are from the Grail legend, and the adventure which opens the book is based on the story of Childe Roland. In spite of the unicorn on the front cover, which turns out to be a latecomer to the story, this turns out to be an intense and creepy fantasy story where most of the action actually takes place in the real world. This would be a great book to get confident readers interested in fantasy. I'm sure Alan Garner's The Owl Service was one of the books which sparked my first forays into the genre when I was twelve or thirteen. Recommended for children and adults who enjoy some suspense and magic, but are not prone to nightmares. This is no horror, but it does build on childhood nightmares.

Roland has allowed out into his relationships with the world and other people, something from the darkness of his inner self which is destructive and self-seeking. The four castles of Elidor – Findias in the South, Falias in the West, Murias in the North, and Gorias in the East – correspond to the four cities of the Tuatha Dé Danann in Irish mythology – Finias (sic), Falias, Murias, and Gorias. [7] Round, and round, his voice went, and through it came a noise. It was low and vibrant, like wind in a chimney. It grew louder, more taut, and the wall blurred, and the floor shook. The noise was in the fabric of the church: it pulsed with sound. Then he heard a heavy door open; and close; and the noise faded away. It was now too still in the church, and the footsteps were moving over the rubble in the passage downstairs. 'Who's that?' said Roland. The footsteps reached the stairs, and began to climb." Late in the book a dying unicorn sings a 'swan song' and by this act brings a restitution of light to Elidor. According to the medieval legend, only the calming presence of a virgin can tame the wild and ferocious nature of the unicorn and only thus may it be killed. [8] Recognition [ edit ] He is helped by his brothers, Nicholas and David, and sister, Helen, as they travel between the devastated city where they live with their parents and the shattered otherworld. They face trials of strength and ingenuity, threatened by forces of darkness and fear – quite apart from the anger of the demolition company trying to pull down the church where the secret entrance is. What’s more, although they pass between Elidor and Manchester, the dangers and mysteries travel with them. Static electricity is threatening their own neighbourhood almost as much as the song of Findhorn – it’s not just Elidor they have to try to save, it’s their own world too.Having said this, much of the novel has humour and a sense of fun. Many years later, a reader inevitably has a different perspective rereading a favourite novel. It is a tribute to Alan Garner's writing that he can switch from powerful fantastical scenes to humdrum family life in a suburban home of yesteryear - and carry the reader with him. St. James Guide To Fantasy Writers, ed. David Pringle, London, St. James Press, 1996, ISBN 1-55862-205-5, (pp. 218-220). Anyway, to the story. It's a short book, probably around 45,000 words, but a lot happens. It's a story rich in themes, rather less rich in characters. The children never become that much more than name tags with a bit of sibling interaction and a nice slant-ways glance at life in a suburban family in 1960s Manchester. The real interest is in their passage to Elidor, and on their return their struggle to keep the treasures they been given safe and to play their role in restoring life to the doomed world that seems to intersect ours at the fringes of society. Alan Garner writes (yes writes - he recently published the third book in the Tales of Alderly series after a 50 YEAR gap!) in the way in which I try to write. Much of his work looks to me like mine would if I were better at it.