Something about Nicholas Stuart Gray's Mainly in Moonlight

I have recently read Nicholas Stuart Gray's Mainly in Moonlight (1965) for the first time. 

Mainly in Moonlight consists of ten short tales of sorcery and the supernatural, the third of which gives its name to the book. One story is an addition to Over the Hills to Fabylon, another to Grimbold's Other World and, as mentioned in the 100th anniversary article, yet another story, one that is told by a demon with a sense of humour, may have given some ideas to Jonathan Stroud.

There is not much quotable material in the book, but some of the stories inspire a small amount of commentary.

Mainly in Moonlight the story
The story titled Mainly in Moonlight has something to say about the inappropriate use of magic and people who get themselves out of a tight corner only to fall into a worse one. 

A young man called Colin decides to seek out a sorcerer to request a magic charm that will get him something he has set his heart on. The sorcerer says that before his wish for a magic spell can be granted, Colin must serve him for one year. 

Colin has to perform tasks such as drawing water, lighting fires, baking bread and tending to an invisible horse. He thinks constantly of escape. 

A creature living at the bottom of the well offers him a way out, but the catch is that he must serve it for one year. Life down below turns out to be worse than it was with the sorcerer.

Again and again Colin is rescued from a disheartening situation only to be expected to serve his new master for one year.

Colin, who had thought that it would be a small and simple matter to get a magic charm, learns his lessons. He says this at the end of the story:

“There is only one simple truth about magic. You get a lot that you didn't ask for and absolutely nothing that you wanted!”

This is certainly true in many cases. However, the sorcerer keeps his word and there is a good outcome for Colin.

Fabylon and Grimbold's Other World
A Letter to My Love is set in Fabylon and has some of the characters from that book, including the cold and distant Prince Conrad. I was slightly disappointed: the story seems routine; it has just not got the magic of the original.

A Message in a Bottle features Muffler, the hero of Grimbold's Other World, and some very endearing goats.

The 'sorcerer' Muffler encounters resembles Nicholas Stuart Gray's witch Huddle in that he decides that he has not got what it takes to practice magic on a large scale so will renounce his attempts at black sorcery and in future be happy and content with just doing the small stuff. He says to Muffler:

“It isn't any use wanting power, if you can't handle it when you get it.”

This is very true. He was beguiled by the glamour and mystery of sorcery; he longed for the power of magic; he wanted to be a 'lord of the night worlds', but was just not up to the job.

Both of these stories seem like afterthoughts or add-ons, just a little more of the same. I prefer the original books!

The Reluctant Familiar
This story is told by a demon who is trapped and summoned by a sorcerer, who says that he has done this partly because he wants him to perform a task and partly for fun. The main attraction in the story is the way the demon expresses himself. This is how he reacts to being summoned:

"Fun!" I said sourly. "I'm not laughing. It doesn't amuse me to be dragged here at this time of night — no word of warning — no 'by your leave and favor'! If you ask me, it's the absolute limit. There I was," I said, warming to my indignation, "enjoying myself! Having a little joke of my own — " 

There is an Afreet in the story; these supernatural beings appear in Jonathan Stroud's stories about Bartimaeus the likeable demon.

According to Tradition

The story titled According to Tradition is about two princes. Blaise, the older of the king's two sons, is described as being 'impossible'. He has no empathy for anyone and treats people with contempt. His brother Christopher is everything that a younger son should be.

They ride off together on a quest to rescue a kidnapped princess. They have several encounters such as are typical in fairy tales: Blaise is the elder brother who ignores the needs and requests of the people they meet and Christopher is the helpful and caring younger brother. 

They end up in a magical forest with some beings rather like Tolkien's elves. Their green-eyed witch-king sends Christopher back to the normal human world, but says that Blaise must stay on.

The king tells Christopher this:

"Most people can be dealt with, one way or another, by human beings. And quite often without damage on either side, given a little goodwill all around. Yet sometimes one comes who is outside the range of ordinary dealing. And then his only hope is that he may be taken in charge by something other than human care. Your brother could never be at home among mortal men. But here, Christopher, he will be safe...Blaise is no longer human. He is of our kind...There is no place for him on mortal earth. He is out of danger here." 

This all sounds very sad and rather chilling. It is Nicholas Stuart Gray's 'stranger in a strange land' scenario yet again.

Some final thoughts about Mainly in Moonlight
Mainly in Moonlight is not, in my opinion, one of Nicholas Stuart Gray's best works. It doesn't have the effect – on me at least - that some of his other books do. Something is missing.

However, some stories may have a special appeal for certain groups of readers. Some cat lovers may find the stories that contain cats enjoyable for that alone for example, and the stories that feature ill-feeling among kings and princes may be of particular interest to people for whom they come close to home.

Nicholas Stuart Gray loved cats and put them into many of his books and plays; I wonder whether his father, son and brother scenarios were based on painful experiences he had with members of his family.

Two editions of Mainly in Moonlight: