Artemis Fowl and the demon cult leader: Part I

I read the first three of Eoin Colfer’s Artemis Fowl fantasy novels when they were first published. I remembered them recently when compiling a list of light and amusing reading that would help to counteract the effects of negative and disturbing material.

I needed a break from reading about the writer Jean Rhys, which is even more depressing than reading about Stella Benson and Antonia White! I decided to renew my acquaintance with Artemis the young Irish prodigy and his fairy friends.

I found that there are now eight Artemis Fowl books. I am reading my way through them all. I didn’t expect to find anything that would inspire any articles, and I was right - until I reached Artemis Fowl and the Lost Colony (2006), the fifth book in the series.

The Lost Colony contains some material that immediately reminded me of what I have read and written about cult leaders and people who feel different on the inside from everyone around them.

The Artemis Fowl books contain many supernatural entities, including elves, dwarves, trolls and goblins; The Lost Colony features demons.  One of them reminds me of certain writers who felt different right from the start and went on to develop a special gift, and another one behaves exactly like a cult leader. 

Something about Eoin Colfer’s demons
Eoin Colfer’s demons begin life as imps. They go through a process called ‘warping’, which turns them into demons. It sounds similar to the way in which a caterpillar builds a cocoon then emerges as a butterfly.

A very few imps never warp into maturity. While ordinary full-grown demons have no magic of their own, these special imps become warlocks who can perform magic.

Most of the demons are collective-minded, bloodthirsty and aggressive with few redeeming characteristics, but there is one exception.

This special, different demon is called Number One.

John Buchan, L. M. Montgomery and some snakes

I neither love and revere snakes nor hate and fear them. I once horrified a friend by trying to stroke a big snake in a small zoo. I couldn’t understand why she reacted the way she did! 

Snakes certainly bring out strong emotions in people, and in fiction they represent evil more often than good.

The discovery that both Stella Benson and Antonia White were lovers of snakes made me wonder whether any more writers of interest shared their views. Did anyone other than Stella Benson believe that they had the soul of a snake?

I looked for obvious personal opinions as opposed to standard Biblical references where they are classic symbols of evil.

I couldn’t find any more positive references to snakes by the people featured on here apart from Gerald Durrell, who doesn’t really count because he was a conservationist and zookeeper who loved all wildlife.

I found that neither John Buchan nor L. M. Montgomery had a good word to say about snakes. Buchan used them to describe some of his villains and L. M. Montgomery obviously loathed and feared them.

A few snake references from John Buchan
This is from The Thirty-Nine Steps:

“...the real boss... with an eye like a rattlesnake.”

“Then he looked steadily at me, and that was the hardest ordeal of all. There was something weird and devilish in those eyes, cold, malignant, unearthly, and most hellishly clever. They fascinated me like the bright eyes of a snake. “

This is from The Power House:

“It was with profound relief that I found myself in Piccadilly in the wholesome company of my kind. I had carried myself boldly enough in the last hour, but I would not have gone through it again for a king's ransom. Do you know what it is to deal with a pure intelligence, a brain stripped of every shred of humanity? It is like being in the company of a snake.”

This is from Mr Standfast:

“Blenkiron got out of his chair and stood above me. 'I tell you, Dick, that man makes my spine cold. He hasn’t a drop of good red blood in him. The dirtiest apache is a Christian gentleman compared to Moxon Ivery. He’s as cruel as a snake and as deep as hell.'”

Context and the total picture: Part II

Part I introduces the idea that putting painful experiences into the context of the lives of well-known people can have both positive and negative effects. 

Some people are the worse for learning that they are not alone, some take comfort in the idea and try to make the best of things and a few of them take another big step forward: they start noticing patterns, joining dots and making connections. 

It seems strange to me that some of the writers featured on here appear never to have reached even the first stage. Their writings are full of insights about themselves and their lives but they looked at it all in isolation. 

No context for their lives
I first mentioned this important point in an article about the poet Kathleen Raine: I said that while she made a good, honest evaluation of herself and her life, she did not compare it with the personalities and lives of other creative writers. She actually had many ideas, insights, feelings and experiences in common with some of them, but she never, at least publicly, did much to put her life into the context of the lives of other, similar, people. 

For example, she admitted that her thoughts about and feelings for Gavin Maxwell placed a heavy and intrusive psychic burden on him and that he eventually turned against her because of this. He may not have been the only person she had a bad effect on: he called her a destroyer.

Would it have made things better or worse if she had known about the terrible effect that J. M. Barrie had on the Llewelyn Davies boys and their parents or Benjamin Disraeli had on various people?

84 years of John Buchan’s Island of Sheep

The Island of Sheep, published as The Man from the Norlands in the US, is the fifth and final book in the series of John Buchan’s Richard Hannay adventures; it follows The Three Hostages.

The Island of Sheep was first published in July 1936, so its 84th anniversary is this month. 

I said in the article about Mr Standfast that The Island of Sheep was lower in my estimation than The Thirty-Nine Steps, Greenmantle and The Three Hostages. The latter was published in 1924; the 12-year gap between The Island of Sheep and its immediate predecessor suggests to me that John Buchan had finished with Richard Hannay but finally gave in to pressure from publishers and demands from dedicated Hannay fans for more exciting adventure stories.

The new thriller that he produced does not in my opinion have the appeal of some of the earlier books. Something is missing. Rudyard Kipling would have said that Buchan’s creative spirit or daemon was not involved in the construction process. 

Much of the material is familiar from the previous books; there are many descriptions of fishing, wildlife, sheep and Buchan’s beloved Scottish landscape and its people for example. 

There isn’t much that inspires commentary apart from a few miscellaneous passages and Richard Hannay’s ambivalent feelings and ideas about his comfortable life.

Richard Hannay’s inner conflicts
At the start of The Three Hostages, Richard Hannay was living a quiet life as a country gentleman. He had paid his dues and earned it. Having to leave it all to go on a mission seemed like a fate worse than death to him. 

At the start of The Island of Sheep, Richard Hannay has been living the quiet life for many years. His attitude towards it has changed: it is much more complicated and ambivalent this time around.