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Merlin's Isle #1
Galahad and the Grail
In this first Volume of Merlin's Isle, join the prophesied youth, Sir Galahad, and the other knights of the quest as they set out from Camelot to achieve the Holy Grail. The accomplishment of their goal will heal not only the wounded Fisher King, but will bring about the long-hoped for healing of the land itself.
Here at the height of his poetic power, Malcolm Guite delivers a tale of adventure in ballad form that plumbs the depths of the human soul, carries listeners through the Wasteland, and sets us upon the numinous shores of Faerie in all its mystery and meaning.
This is not an epic destined to be sequestered in the halls of academia, but a tale to be listened to by young and old alike, to be played aloud among friends, to be listened to and cherished for generations to come.
Here at the height of his poetic power, Malcolm Guite delivers a tale of adventure in ballad form that plumbs the depths of the human soul, carries listeners through the Wasteland, and sets us upon the numinous shores of Faerie in all its mystery and meaning.
This is not an epic destined to be sequestered in the halls of academia, but a tale to be listened to by young and old alike, to be played aloud among friends, to be listened to and cherished for generations to come.
Audible Audio
First published March 23, 2026
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Displaying 1 - 30 of 151 reviews
November 26, 2025
This was absolutely enchanting.
It recounts the quest for the Grail, beginning with Galahad, but also the stories of Lancelot, Bors, and Percivale were shared. All that told in the most gorgeous poetic verses.
The illustrations were beautiful, they match the tone of the book perfectly, so props to the artist for that. And that cover! Stunning.
I am a longtime Arthurian fan, and I feel like a retelling of the quest for the Grail can at times read almost too faith-based and not for everybody. And though there surely were mentions of religion and faith in this book — as there should be, if it’s to be true to the original — they weren’t overwhelming and felt appropriate. I have nothing but amazing things to say about this book.
Thank you to NetGalley for providing an ARC in exchange for an honest review.
It recounts the quest for the Grail, beginning with Galahad, but also the stories of Lancelot, Bors, and Percivale were shared. All that told in the most gorgeous poetic verses.
The illustrations were beautiful, they match the tone of the book perfectly, so props to the artist for that. And that cover! Stunning.
I am a longtime Arthurian fan, and I feel like a retelling of the quest for the Grail can at times read almost too faith-based and not for everybody. And though there surely were mentions of religion and faith in this book — as there should be, if it’s to be true to the original — they weren’t overwhelming and felt appropriate. I have nothing but amazing things to say about this book.
Thank you to NetGalley for providing an ARC in exchange for an honest review.
May 18, 2026
Malcolm Guite has been a hero, influence, and (to my great pleasure) friend to me for almost thirteen years now. His influence is a good reason why I myself am about to becoming an Anglican priest. So I had high hopes for this volume, his epic retelling in ballad form of the Aurthurian legends (the first in a series of four).
So am thrilled that my hopes have been exceeded by the work itself. To start, the volume itself is stunning: a richly textured dust jacket over a lovely, soft red hardcover. The design inside and out is simple yet satisfying, and the interplay between Stephen Croft’s wonderful woodcuts and the text itself is such a pleasure.
What surprised me, however, is how moving and soul-stirring the story itself is. There were several moments in the story which “catch the heart off guard and blow it open” (to quote Seamus Heaney). More than that, the presence of this world that Malcolm is conjuring has settled into my soul somehow. He interweaves the themes of repentance, restoration, redemption, and fulfilment of purpose in a way we don’t often glimpse (but so often hope for). I felt this doing good to me, like the best kind of medicine.
I have a few quibbles (I wonder if the structure of the story might be improved, questioned a few rhyme choices, and wondered if a more subtle use of the Christian themes might have been more effective), but am far more impressed for what does work. I expect this is a work I’ll be returning to in years to come, and can’t wait for the rest of the volumes.
Amendment: the audiobook (read by Malcolm himself) is excellent. I strongly recommend enjoying the book in both mediums. In my opinion, the three appendixes work even better as audio lectures than as book length essays (his long sentences are better in the ear than on the page).
So am thrilled that my hopes have been exceeded by the work itself. To start, the volume itself is stunning: a richly textured dust jacket over a lovely, soft red hardcover. The design inside and out is simple yet satisfying, and the interplay between Stephen Croft’s wonderful woodcuts and the text itself is such a pleasure.
What surprised me, however, is how moving and soul-stirring the story itself is. There were several moments in the story which “catch the heart off guard and blow it open” (to quote Seamus Heaney). More than that, the presence of this world that Malcolm is conjuring has settled into my soul somehow. He interweaves the themes of repentance, restoration, redemption, and fulfilment of purpose in a way we don’t often glimpse (but so often hope for). I felt this doing good to me, like the best kind of medicine.
I have a few quibbles (I wonder if the structure of the story might be improved, questioned a few rhyme choices, and wondered if a more subtle use of the Christian themes might have been more effective), but am far more impressed for what does work. I expect this is a work I’ll be returning to in years to come, and can’t wait for the rest of the volumes.
Amendment: the audiobook (read by Malcolm himself) is excellent. I strongly recommend enjoying the book in both mediums. In my opinion, the three appendixes work even better as audio lectures than as book length essays (his long sentences are better in the ear than on the page).
May 22, 2026
ALL THE STARS!!!!
Masterful!
Masterful!
May 11, 2026
Reread: it's even better on audio, as is the case with epic poetry! But you forsake the incredible artwork, which feels criminal. The only true solution is an immersive read with both hard copy and audio (read by the author!) for all of your future reads.
Malcolm Guite has written an epic for all ages, restoring the Christian origins of King Arthur's knights and their quest for the Holy Grail to their proper significance. Thank you to Arthur Peterson and Rabbit Room Press for the ARC through NetGalley in exchange for an honest review.
"Our quest is not as we propose, but shall be as our Lord dispose; we'll trust to all He may disclose and in His promise rest."
Guite "follows in the footsteps of Spenser, Milton, Dante, and Tennyson" with inspiration from Inklings, Lewis, Tolkien, and Barfield, in telling stories for all ages that seek to show a greater story through their telling, indeed the eucatastrophe out of catastrophe.
He also ties in his childhood favorite, Kipling, and Coleridge's Rime of the Ancient Mariner as well. In the appendices, there's a beautiful explanation of the high view of the Eucharist throughout the story. It's masterfully done. Have I mentioned how I read this in one sitting? I couldn't put it down.
Pick this up, and its three eventual sequels, for yourself and for your families. I know I will.
"Draw up from deep within yourself with hidden flow and force -- the wellspring of your inner life, the Source behind the source!"
Malcolm Guite has written an epic for all ages, restoring the Christian origins of King Arthur's knights and their quest for the Holy Grail to their proper significance. Thank you to Arthur Peterson and Rabbit Room Press for the ARC through NetGalley in exchange for an honest review.
"Our quest is not as we propose, but shall be as our Lord dispose; we'll trust to all He may disclose and in His promise rest."
Guite "follows in the footsteps of Spenser, Milton, Dante, and Tennyson" with inspiration from Inklings, Lewis, Tolkien, and Barfield, in telling stories for all ages that seek to show a greater story through their telling, indeed the eucatastrophe out of catastrophe.
He also ties in his childhood favorite, Kipling, and Coleridge's Rime of the Ancient Mariner as well. In the appendices, there's a beautiful explanation of the high view of the Eucharist throughout the story. It's masterfully done. Have I mentioned how I read this in one sitting? I couldn't put it down.
Pick this up, and its three eventual sequels, for yourself and for your families. I know I will.
"Draw up from deep within yourself with hidden flow and force -- the wellspring of your inner life, the Source behind the source!"
May 6, 2026
Bravo!!
I don't know what I was expecting but he blew whatever that was out of the water. In the introduction he says ballads are supposed to be read out loud. I was so fortunate to be able to listen to it via audiobook and it was marvelous. I was also worried because of doing AO Y7 which is heavy on King Arthur material I wouldn't be interested, but that was not the case at all. I also wanted to see if I liked it before I paid for the book. It's worth buying. Just beautifully done and the appendises are worth the book alone, which sounds weird but he basically narrates his bibliography with reasons why he chose certain books in the Arthurian Cycle and I loved it. Some books I have read, some already on my shelves I need to get to and plenty to look for when out book hunting. I look forward to the second installment in the autumn. I am also so thankful that his mother told him this story as a child. She truly told him the stories that baptized his imagination! This definitely feels like a passion project and I'm thankful the muse told him to write it.
Also, Emma M Lion fans the Fisher King as one reader pointed out seems very similar to Pierce, is one of the main characters, so that was fun too.
I don't know what I was expecting but he blew whatever that was out of the water. In the introduction he says ballads are supposed to be read out loud. I was so fortunate to be able to listen to it via audiobook and it was marvelous. I was also worried because of doing AO Y7 which is heavy on King Arthur material I wouldn't be interested, but that was not the case at all. I also wanted to see if I liked it before I paid for the book. It's worth buying. Just beautifully done and the appendises are worth the book alone, which sounds weird but he basically narrates his bibliography with reasons why he chose certain books in the Arthurian Cycle and I loved it. Some books I have read, some already on my shelves I need to get to and plenty to look for when out book hunting. I look forward to the second installment in the autumn. I am also so thankful that his mother told him this story as a child. She truly told him the stories that baptized his imagination! This definitely feels like a passion project and I'm thankful the muse told him to write it.
Also, Emma M Lion fans the Fisher King as one reader pointed out seems very similar to Pierce, is one of the main characters, so that was fun too.
May 19, 2026
Please note: I listened to this book on audio and have no idea how to spell a few of the names.
To be totally honest, while I enjoy the idea of King Arthur and his knights, and have read/watched a few related retellings, I haven’t personally done much research into the legend. I follow the Rabbit Room (the publisher of this book), but I don’t know that I would have specifically thought about reading this book if not for the excitement of one of my writer friends, Allison Tebo, who is working on her own King Arthur retelling, and therefore was super excited to get this book. I was intrigued to know that this was written in epic verse because I really enjoyed reading the version of Tolkien’s “Beren and Luthien” that was written the same way, but I didn’t necessarily want to buy a fancy illustrated copy when I didn’t know if I would like it, so I was going to check my library. Well, the very same day that Allison excitedly shared about her physical copy arriving, I got a newsletter from the Rabbit Room (literally minutes later) that they’d done an audiobook version narrated by the author himself. I said, “Yesssss,” checked my library, and they already had it, so I checked it out soon after.
May is my birthday month, so I prefer to keep my reading for the month on the more positive/fun/uplifting side. (I just don’t want to read anything stressful or upsetting when I’m trying to celebrate something irl.) This fit the bill exactly. It was so easy to listen to for long sittings, and I love that the author himself read it since he knows exactly how his poetry should flow. While it took a little adjustment to listen to a novel-length story being told in verse, it was paced very well and still built the characters and helped me imagine the world vividly.
To be honest, listening to a tale of knights of yore made me feel connected to history since legends were often passed down orally in the days when many people didn’t know how to read. I also agree with the synopsis that this would make a great read-aloud with family and friends. It was very epic, fun, and exciting, and would be great to enjoy with others!
The thing that impressed me the most, though, were the faith elements. Something I’ve often noticed when I’ve read or watched retellings of the legends of King Arthur is how any faith element gets totally ignored, or gets spiritually murky. (Y’know… that whole thing where someone has to be “pure of heart” to use the Holy Grail or other such artifact, but it’s really murky or not explained at all where such purity comes from.) Guite unapologetically adds the faith of the original legends back in, not just on a surface level, but in a way that deeply impacts the narrative. Our knights are noble not because they just happen to be good people because Reasons. No, they’d be the first to tell you that any goodness in them comes from Christ alone, and it is His strength that drives them forward, and His salvation that protects them from the snares of the enemy. They are heroes you can unabashedly cheer for.
I’ve also noticed that in many retellings, the errors of certain knights (like Lancelot’s affair with Guinevere) can get glossed over or even excused, but this story doesn’t do that. It acknowledges that those things happened and that they were not okay. But it also tells us that God brought about good things from the bad, and He’s also merciful and will forgive those who did wrong when they repent. (And we actually do see some repentance and redemption here, which was very nice!)
These elements made for a very uplifting story. Yes, the knights face quite a few scary obstacles and difficult challenges, but this story shouts from the rooftops that there is victory, hope, and healing to be found in the end.
For someone who didn’t even know initially if I was interested in reading this book, I’m now excited to know that Guite plans to write more volumes. I fully intend to read reread this book in years to come, and to read any that come after.
Content Advisory:
Language:
None that I recall. (Mentions of damnation and hell, but this is in reference to the actual spiritual concepts, not swearing.)
Sexual/Romance:
Never anything detailed. Acknowledgment that Galahad was conceived out of wedlock. (No details, this is merely statement of fact as someone tells adult Galahad the truth of his parentage. The person also tells him not to be upset, because his life was the good that God brought about despite the wrongful actions of his parents.)
Acknowledgment of Lancelot’s affair with Guinevere and mention of how it started as “courtly love” (not romantic) but then morphed into romantic love, which is acknowledged as wrong since Guinevere was married. At one point, forgiveness is offered the couple in exchange for repentance, and Lancelot takes it, truly regretting what he did. (Guinevere is in another location at this point in the story, but the implication is that someone will go tell her she too can be forgiven if she repents.)
Several of our noble knights have a woman that they love romantically (these women share the knights’ strong faith in God) and are faithful to them throughout the story. The knights also defend women they encounter on their journey, including one whom we’re told was assaulted (no details) and is in danger of further harm.
A couple of times, some female mythical beings (like a fairy or some such person) tries to tempt a knight to be unfaithful in order to waylay him from the quest, but the knight resists and escapes.
Violence/Scariness:
Nothing is described in an extreme or drawn-out manner, but violence does occur. Knights fight fellow knights (sometimes for sport, but other times in self defense or defense of a location.), mythical beings, and, occasionally, large, threatening animals (like a giant, deadly snake.) Men get injured and some die while others survive. Sometimes blood and bleeding is mentioned, but only very briefly. Any animal deaths are only barely described. (Side note that sometimes animals are also sent by God to help them.)
One of the more notable moments of violence is the beheading of a peaceful monk. (The attacker was not in his right mind and about to attack his own brother, and the monk tried to stop him.) The description is very brief. Mention of blood on the sword but nothing more.
A woman gives her life for someone who has been put under a spell and can only get out of it if a willing participant gives enough blood to fill a special bowl. The woman volunteers out of pity for this cursed person who will eventually waste away and die without help, though she’s warned that if the blood flow can’t be stopped, she could die herself. She accepts this risk and does die (barely described.) The knights mourn her deeply, but acknowledge the beauty of her willing sacrifice.
Spiritual/magic:
The author is a Christian who states in his author’s note that he’s been saddened by how people have tried to remove the faith elements from the legends of King Arthur and his knights. Therefore, he set about writing a poetic retelling (and plans to write more) where he puts the faith elements back in, hoping the end result is epic and inspiring at the same time.
While this retelling does still have magical and mythical elements, like elves and fairies, the author treats these things like this is simply the way God made the world to be. God made elves and fairies, etc., therefore any magic they have is a natural ability that are part of God’s design. These beings have a choice, like anyone else, to use their powers for good or evil.
As mentioned above, we see some mythical beings trying to waylay the knights from their quest. Others are simply trying to do good things like protect the natural environment, their own realms, or even helping the knights along the way.
There are also depictions of angels and demons. In one instance, demonic possession makes a man lose his mind, kill one person, and try to attack another, but the demon ultimately gets cast out in the name of Jesus.
While the demonic creatures often have scary and intense descriptions, and threaten to send the knights to hell, they are always defeated by the Christian knights. The knights evoke the name of Jesus many times, claiming Him as their Savior who died for their sins, therefore they have no fear of hell. The name of Jesus is treated as a powerful weapon and protection.
Occasionally, late in the story, Jesus himself appears to the knights, whether in visions or in person when they’re in more spiritual settings, like where the Holy Grail and spear are kept. Jesus gives them instruction and encouragement, works miracles, and raises one woman from the dead. There is even one nod to Lucy and the albatross (a symbol of Christ) from C. S. Lewis’s Narnia. (Which itself was a reference to the albatross being uses as a symbol of Christ in other classic literature.)
Much talk, and depictions of holy relics like the Holy Grail and the spear that pierced Jesus’s side on the cross. These objects have miraculous properties due to their associations with Christ (it’s made clear that only people with hearts made pure by Christ can have access to them) and we’re told of some miracles caused by them. (Example: drops of Jesus’s blood from the spear heal a man who was on the brink of death.)
Mentions of Christian people going to heaven at the end of their lives.
To be totally honest, while I enjoy the idea of King Arthur and his knights, and have read/watched a few related retellings, I haven’t personally done much research into the legend. I follow the Rabbit Room (the publisher of this book), but I don’t know that I would have specifically thought about reading this book if not for the excitement of one of my writer friends, Allison Tebo, who is working on her own King Arthur retelling, and therefore was super excited to get this book. I was intrigued to know that this was written in epic verse because I really enjoyed reading the version of Tolkien’s “Beren and Luthien” that was written the same way, but I didn’t necessarily want to buy a fancy illustrated copy when I didn’t know if I would like it, so I was going to check my library. Well, the very same day that Allison excitedly shared about her physical copy arriving, I got a newsletter from the Rabbit Room (literally minutes later) that they’d done an audiobook version narrated by the author himself. I said, “Yesssss,” checked my library, and they already had it, so I checked it out soon after.
May is my birthday month, so I prefer to keep my reading for the month on the more positive/fun/uplifting side. (I just don’t want to read anything stressful or upsetting when I’m trying to celebrate something irl.) This fit the bill exactly. It was so easy to listen to for long sittings, and I love that the author himself read it since he knows exactly how his poetry should flow. While it took a little adjustment to listen to a novel-length story being told in verse, it was paced very well and still built the characters and helped me imagine the world vividly.
To be honest, listening to a tale of knights of yore made me feel connected to history since legends were often passed down orally in the days when many people didn’t know how to read. I also agree with the synopsis that this would make a great read-aloud with family and friends. It was very epic, fun, and exciting, and would be great to enjoy with others!
The thing that impressed me the most, though, were the faith elements. Something I’ve often noticed when I’ve read or watched retellings of the legends of King Arthur is how any faith element gets totally ignored, or gets spiritually murky. (Y’know… that whole thing where someone has to be “pure of heart” to use the Holy Grail or other such artifact, but it’s really murky or not explained at all where such purity comes from.) Guite unapologetically adds the faith of the original legends back in, not just on a surface level, but in a way that deeply impacts the narrative. Our knights are noble not because they just happen to be good people because Reasons. No, they’d be the first to tell you that any goodness in them comes from Christ alone, and it is His strength that drives them forward, and His salvation that protects them from the snares of the enemy. They are heroes you can unabashedly cheer for.
I’ve also noticed that in many retellings, the errors of certain knights (like Lancelot’s affair with Guinevere) can get glossed over or even excused, but this story doesn’t do that. It acknowledges that those things happened and that they were not okay. But it also tells us that God brought about good things from the bad, and He’s also merciful and will forgive those who did wrong when they repent. (And we actually do see some repentance and redemption here, which was very nice!)
These elements made for a very uplifting story. Yes, the knights face quite a few scary obstacles and difficult challenges, but this story shouts from the rooftops that there is victory, hope, and healing to be found in the end.
For someone who didn’t even know initially if I was interested in reading this book, I’m now excited to know that Guite plans to write more volumes. I fully intend to read reread this book in years to come, and to read any that come after.
Content Advisory:
Language:
None that I recall. (Mentions of damnation and hell, but this is in reference to the actual spiritual concepts, not swearing.)
Sexual/Romance:
Never anything detailed. Acknowledgment that Galahad was conceived out of wedlock. (No details, this is merely statement of fact as someone tells adult Galahad the truth of his parentage. The person also tells him not to be upset, because his life was the good that God brought about despite the wrongful actions of his parents.)
Acknowledgment of Lancelot’s affair with Guinevere and mention of how it started as “courtly love” (not romantic) but then morphed into romantic love, which is acknowledged as wrong since Guinevere was married. At one point, forgiveness is offered the couple in exchange for repentance, and Lancelot takes it, truly regretting what he did. (Guinevere is in another location at this point in the story, but the implication is that someone will go tell her she too can be forgiven if she repents.)
Several of our noble knights have a woman that they love romantically (these women share the knights’ strong faith in God) and are faithful to them throughout the story. The knights also defend women they encounter on their journey, including one whom we’re told was assaulted (no details) and is in danger of further harm.
A couple of times, some female mythical beings (like a fairy or some such person) tries to tempt a knight to be unfaithful in order to waylay him from the quest, but the knight resists and escapes.
Violence/Scariness:
Nothing is described in an extreme or drawn-out manner, but violence does occur. Knights fight fellow knights (sometimes for sport, but other times in self defense or defense of a location.), mythical beings, and, occasionally, large, threatening animals (like a giant, deadly snake.) Men get injured and some die while others survive. Sometimes blood and bleeding is mentioned, but only very briefly. Any animal deaths are only barely described. (Side note that sometimes animals are also sent by God to help them.)
One of the more notable moments of violence is the beheading of a peaceful monk. (The attacker was not in his right mind and about to attack his own brother, and the monk tried to stop him.) The description is very brief. Mention of blood on the sword but nothing more.
A woman gives her life for someone who has been put under a spell and can only get out of it if a willing participant gives enough blood to fill a special bowl. The woman volunteers out of pity for this cursed person who will eventually waste away and die without help, though she’s warned that if the blood flow can’t be stopped, she could die herself. She accepts this risk and does die (barely described.) The knights mourn her deeply, but acknowledge the beauty of her willing sacrifice.
Spiritual/magic:
The author is a Christian who states in his author’s note that he’s been saddened by how people have tried to remove the faith elements from the legends of King Arthur and his knights. Therefore, he set about writing a poetic retelling (and plans to write more) where he puts the faith elements back in, hoping the end result is epic and inspiring at the same time.
While this retelling does still have magical and mythical elements, like elves and fairies, the author treats these things like this is simply the way God made the world to be. God made elves and fairies, etc., therefore any magic they have is a natural ability that are part of God’s design. These beings have a choice, like anyone else, to use their powers for good or evil.
As mentioned above, we see some mythical beings trying to waylay the knights from their quest. Others are simply trying to do good things like protect the natural environment, their own realms, or even helping the knights along the way.
There are also depictions of angels and demons. In one instance, demonic possession makes a man lose his mind, kill one person, and try to attack another, but the demon ultimately gets cast out in the name of Jesus.
While the demonic creatures often have scary and intense descriptions, and threaten to send the knights to hell, they are always defeated by the Christian knights. The knights evoke the name of Jesus many times, claiming Him as their Savior who died for their sins, therefore they have no fear of hell. The name of Jesus is treated as a powerful weapon and protection.
Occasionally, late in the story, Jesus himself appears to the knights, whether in visions or in person when they’re in more spiritual settings, like where the Holy Grail and spear are kept. Jesus gives them instruction and encouragement, works miracles, and raises one woman from the dead. There is even one nod to Lucy and the albatross (a symbol of Christ) from C. S. Lewis’s Narnia. (Which itself was a reference to the albatross being uses as a symbol of Christ in other classic literature.)
Much talk, and depictions of holy relics like the Holy Grail and the spear that pierced Jesus’s side on the cross. These objects have miraculous properties due to their associations with Christ (it’s made clear that only people with hearts made pure by Christ can have access to them) and we’re told of some miracles caused by them. (Example: drops of Jesus’s blood from the spear heal a man who was on the brink of death.)
Mentions of Christian people going to heaven at the end of their lives.
May 18, 2026
Oh, what a treasure. Malcolm Guite has offered his rendering of the tale of Galahad and the Grail in lovely English ballad form. For a true treat, listen to his audiobook and read the text at the same time. Or read it aloud to, or with, someone you love. I was enchanted. It's a work for the ages, and for all ages.
This is the first of four planned volumes in a new Arthuriad. Guite explains that he's modeling it on traditional epics that have 12 books, so each will have three.
Here is where I confess my pretty paltry lack of learning about the Arthuriad. Sure, I've seen Monty Python, read Mary Stewart's Crystal Cave, and own two translations of Sir Gawaine and the Green Knight. But there's so much more out there. Malcolm Guite's mother generously shared her love of the King Arthur tales with him when he was young...for good or bad, I was raised on Sesame Street. Let's make up for lost time.
The volume itself is gorgeous. There are lovely (and helpful!) black and white illustrations and a few colorful ones. There's a ribbon marker, just the right size font, and beautiful creamy white paper that's just the right weight. And if all that weren't enough, there's a super helpful and approachable introduction to sources of Arthuriana.
If you believe like I do that all the great stories are talking to each other, this new telling of Galahad absolutely adds to the conversation.
This is the first of four planned volumes in a new Arthuriad. Guite explains that he's modeling it on traditional epics that have 12 books, so each will have three.
Here is where I confess my pretty paltry lack of learning about the Arthuriad. Sure, I've seen Monty Python, read Mary Stewart's Crystal Cave, and own two translations of Sir Gawaine and the Green Knight. But there's so much more out there. Malcolm Guite's mother generously shared her love of the King Arthur tales with him when he was young...for good or bad, I was raised on Sesame Street. Let's make up for lost time.
The volume itself is gorgeous. There are lovely (and helpful!) black and white illustrations and a few colorful ones. There's a ribbon marker, just the right size font, and beautiful creamy white paper that's just the right weight. And if all that weren't enough, there's a super helpful and approachable introduction to sources of Arthuriana.
If you believe like I do that all the great stories are talking to each other, this new telling of Galahad absolutely adds to the conversation.
April 21, 2026
Thank you to NetGalley, the publisher, and the author for this free eARC in exchange for an honest review.
4.5 stars. I loved this. This was so fun. The book recommends you read it aloud and I agree!!!
The pros: I am not very religious. Have you seen that Tumblr post where it's like "I would rather suspend my disbelief and believe in the divine right of kings for 400 pages than read about how THIS king is cool and woke" or whatever? That's kind of how I feel about this. For these 350~ pages I was a devout Christian. This was just so fucking cool. I learned, from reading this, that I only know the vaguest gist of the Arthurian Cycle. I thought I knew more, but I do not. I loved learning about it this way, and I did a little further research and I love the changes I noticed. Aside from content, the poetry!!!! The form!!! My poetry teacher was trying to tell us about the creativity that comes from the restraint of a form, and this feels like such a great example of that. Again, if you can, I highly recommend reading this aloud. The rhythm of it really comes out, and it's just!!! This is all so fun. I'm looking forward to the other volumes!!!! ALSO OH MY GOD THE ART. HOLY SHIT THE ART.
The cons: Really my only qualm is that sometimes there will be a line that just. The rhythm doesn't work. It's too long, or awkward, or so on. This shouldn't be such a big deal because it's not super frequently, but it always took me out of it.
All in all, fantastic. Amazing. Awesome.
4.5 stars. I loved this. This was so fun. The book recommends you read it aloud and I agree!!!
The pros: I am not very religious. Have you seen that Tumblr post where it's like "I would rather suspend my disbelief and believe in the divine right of kings for 400 pages than read about how THIS king is cool and woke" or whatever? That's kind of how I feel about this. For these 350~ pages I was a devout Christian. This was just so fucking cool. I learned, from reading this, that I only know the vaguest gist of the Arthurian Cycle. I thought I knew more, but I do not. I loved learning about it this way, and I did a little further research and I love the changes I noticed. Aside from content, the poetry!!!! The form!!! My poetry teacher was trying to tell us about the creativity that comes from the restraint of a form, and this feels like such a great example of that. Again, if you can, I highly recommend reading this aloud. The rhythm of it really comes out, and it's just!!! This is all so fun. I'm looking forward to the other volumes!!!! ALSO OH MY GOD THE ART. HOLY SHIT THE ART.
The cons: Really my only qualm is that sometimes there will be a line that just. The rhythm doesn't work. It's too long, or awkward, or so on. This shouldn't be such a big deal because it's not super frequently, but it always took me out of it.
All in all, fantastic. Amazing. Awesome.
May 8, 2026
This is an absolutely beautiful book that moves your heart from a secular numbness to a deep joy and awakening to the holy and deep things of humanity. Guite passes on the tale with adeptness and liveliness, and meshes perfectly with the absolutely stunning illustrations which have imprinted upon my memory for the rest of my lifetime and beyond. I really appreciated the appendices for giving me a more holistic understanding and deeper appreciation of the text, while not explaining away the mystery and the magic of entering fully into a story without dissection. So happy to have read a book at its release which, I believe, will withstand and meld into tradition for all time.
May 21, 2026
An absolute triumph. Guite has added a significant piece to the Arthurian canon -- and Christian storytelling as a whole. I expect this series will be looked on and loved for decades, or longer.
The poetry is spellbinding. It is rich but digestible to the modern ear.
Most of all, the synthesizing of pagan myth and Christianity is masterfully done. Malcolm Guite embraces the pagan myths as the soup stock of the Arthuriad. But he then weaves them into a brilliant Christian tale. He sees the pagan myths as being explained and fulfilled by the coming of Christ.
There's so much good in this book. Lancelot and Galahad in particular are beautifully handled. Above all, this is a genuine retelling. Genuine, as in, it treats its characters and its subject with complete heart. Redemption and eucatastrophe, wicked foes, dolorous blows, and Christ-inspired chivalry.
This is the perfect retelling of the story of Galahad. So glad it came to be in my time.
The poetry is spellbinding. It is rich but digestible to the modern ear.
Most of all, the synthesizing of pagan myth and Christianity is masterfully done. Malcolm Guite embraces the pagan myths as the soup stock of the Arthuriad. But he then weaves them into a brilliant Christian tale. He sees the pagan myths as being explained and fulfilled by the coming of Christ.
There's so much good in this book. Lancelot and Galahad in particular are beautifully handled. Above all, this is a genuine retelling. Genuine, as in, it treats its characters and its subject with complete heart. Redemption and eucatastrophe, wicked foes, dolorous blows, and Christ-inspired chivalry.
This is the perfect retelling of the story of Galahad. So glad it came to be in my time.
May 26, 2026
6/5
Probably the best book I've read written during my lifetime. I think this will last long into the future, being a part of the Arthuriad alongside White, Mallory, and Geoffrey of Monmouth. May God give Guite the life to finish this epic undertaking, that he not be cut off like Spenser before he can complete the work.
Probably the best book I've read written during my lifetime. I think this will last long into the future, being a part of the Arthuriad alongside White, Mallory, and Geoffrey of Monmouth. May God give Guite the life to finish this epic undertaking, that he not be cut off like Spenser before he can complete the work.
May 20, 2026
Bought Judah the book and it’s gorgeous, but listened to it as an audiobook as it’s Malcolm Guite. Loved it so much, and especially the authors notes at the end.
April 29, 2026
As one who didn't grow up reading or hearing about the Arthuriad legends, this was a riveting read for me. I'm excited about the next books in the series. This ballad felt quite accessible, and since it's written to be read out loud, I think it would do nicely for a story to read to children.
May 3, 2026
When Malcolm Guite was a boy, his mother retold him stories from Sir Thomas Malory’s Le Morte d’Arthur. In my one interaction with Malcolm, over three years ago, I admitted that reading Malory, for the most part, left me cold. Malory lacks the literary brilliance of Chrétien de Troyes, Wolfram von Eschenbach, or Hartmann von Aue; nor does he add much to the sprawling allegorical and psychological sophistication of the French Lancelot-Grail cycle. Guite responded kindly that his great love was for the language in which Malory wrote—a language, indeed, that shapes our imagination of King Arthur as much as the tales themselves. Malory serves Guite as a “quarry,” as he put it, for his own telling.
Galahad and the Grail is, indeed, far more than a rendering of Malory into ballad form. It is an encapsulation of Guite’s whole ambition to “lift the veil” of the poetic imagination, and he deftly braids his own interests and poetic innovations into the story.
In general, the work benefits from this. The poet compresses the labyrinthine turnings of the older stories into smoothly-paced narrative movement. He cuts supporting characters and excises many of the Cistercian overtones that linger in Malory from his French sources; Guite’s Percivale, for example, weds Blanchefleur and becomes the new Grail King, an ending consistent with the German tradition and which most of us today find more satisfying than watching him die a hermit. But there are other more noticeable and pervasive changes. The first is the expansion of the character of Percivale’s sister, the Grail maiden “Dindrane”; Guite takes her name (but little else) from Perlesvaus and has her apprentice with her aunt, a hermit whom Guite renders in colors reminiscent of Celtic hagiography. Whereas in the Vulgate and Malory her worthiness derives from her perfect virginity of body and soul, Guite’s Dindrane is distinguished by mystical insight and a gift of song which summons animals and the Ship of Solomon. Her expressions of love for Galahad could be interpreted as romantic, and whereas in Malory, “Dindrane” and Galahad are buried in the Holy Land of Sarras, Guite imagines them reunited on the Ship of Solomon, which takes them into the utter west.
A second major change is Guite’s development of the “Wasteland.” Whereas in Malory the Grail Knights spend years wandering in wild forests before being abruptly shown to the Castle of the Grail, Guite makes the Wasteland the final threshold of the quest, writing about 40 pages of entirely original material. The Wasteland, as he explains in his second appendix, represents to him the barrenness and alienation of materialism, which manifests in ecological crisis. The only way to cross safely is by honoring the naiads and dryads whose existence has been choked down to literal roots. While this passage feels more like 19th-century fairy-tale than Malory, and its imaginative impact is dampened by some unnecessary moralizing stanzas about living in harmony with nature, there are solid narrative and thematic reasons for its inclusion.
Such changes emblematize Guite’s post-Inklings religious-imaginative vision: a Christianity that is devoutly orthodox but also pours out its sacramental life into the world as we find it. Unsurprisingly, he seizes on an image long associated in the Arthurian tradition with Percivale: the White Hart. In the older tales, Percivale hunts and kills the Hart at the behest of a wicked fairy-maiden. In the Vulgate Cycle, however, the White Hart is none other than Christ, encountered in the Waste Forest with four lion attendants in an allegorical pageant-Mass. Malory characteristically abridges the episode; Guite expands it into what is arguably his narrative’s central episode, a vision granted to his protagonists to prepare them for the soul-quenching horror of the Wasteland. The Hart is simultaneously an icon of Christ and a symbol of nature sanctified and resurrected.
At first, Guite’s poetry seems quaint, if technically accomplished; archaisms and contemporary language mingle in a sing-song rhythm with predictable rhyming elements. But in the end, I think he strikes a good balance between readability, sonority, and fidelity to the language of Malory. Galahad and the Grail is not a demanding read, even for those who have no developed taste for poetry; I would have read it delightedly as a twelve-year-old. This is likely to be the version of the story I use if I ever get the chance to teach it to high school students.
Feast of Sts Philip and James, 2026
Galahad and the Grail is, indeed, far more than a rendering of Malory into ballad form. It is an encapsulation of Guite’s whole ambition to “lift the veil” of the poetic imagination, and he deftly braids his own interests and poetic innovations into the story.
In general, the work benefits from this. The poet compresses the labyrinthine turnings of the older stories into smoothly-paced narrative movement. He cuts supporting characters and excises many of the Cistercian overtones that linger in Malory from his French sources; Guite’s Percivale, for example, weds Blanchefleur and becomes the new Grail King, an ending consistent with the German tradition and which most of us today find more satisfying than watching him die a hermit. But there are other more noticeable and pervasive changes. The first is the expansion of the character of Percivale’s sister, the Grail maiden “Dindrane”; Guite takes her name (but little else) from Perlesvaus and has her apprentice with her aunt, a hermit whom Guite renders in colors reminiscent of Celtic hagiography. Whereas in the Vulgate and Malory her worthiness derives from her perfect virginity of body and soul, Guite’s Dindrane is distinguished by mystical insight and a gift of song which summons animals and the Ship of Solomon. Her expressions of love for Galahad could be interpreted as romantic, and whereas in Malory, “Dindrane” and Galahad are buried in the Holy Land of Sarras, Guite imagines them reunited on the Ship of Solomon, which takes them into the utter west.
A second major change is Guite’s development of the “Wasteland.” Whereas in Malory the Grail Knights spend years wandering in wild forests before being abruptly shown to the Castle of the Grail, Guite makes the Wasteland the final threshold of the quest, writing about 40 pages of entirely original material. The Wasteland, as he explains in his second appendix, represents to him the barrenness and alienation of materialism, which manifests in ecological crisis. The only way to cross safely is by honoring the naiads and dryads whose existence has been choked down to literal roots. While this passage feels more like 19th-century fairy-tale than Malory, and its imaginative impact is dampened by some unnecessary moralizing stanzas about living in harmony with nature, there are solid narrative and thematic reasons for its inclusion.
Such changes emblematize Guite’s post-Inklings religious-imaginative vision: a Christianity that is devoutly orthodox but also pours out its sacramental life into the world as we find it. Unsurprisingly, he seizes on an image long associated in the Arthurian tradition with Percivale: the White Hart. In the older tales, Percivale hunts and kills the Hart at the behest of a wicked fairy-maiden. In the Vulgate Cycle, however, the White Hart is none other than Christ, encountered in the Waste Forest with four lion attendants in an allegorical pageant-Mass. Malory characteristically abridges the episode; Guite expands it into what is arguably his narrative’s central episode, a vision granted to his protagonists to prepare them for the soul-quenching horror of the Wasteland. The Hart is simultaneously an icon of Christ and a symbol of nature sanctified and resurrected.
Remember all that you have seen,The Mass of the Grail with which Guite concludes Galahad and the Grail brings all this together. Malory, again simply abridging the Vulgate, has Joseph of Arimathea appear as celebrant; the wounded Christ emerges bodily from the Grail after the consecration to offer himself to them in the sacrament. Guite has Galahad “unveil” the Grail prior to the Sanctus, at which each of the Grail Knights sees a vision: Percivale the union of Heaven and “all earthly things,” Bors the indwelling of the Trinity in all people, and Galahad Christ joining Nacien in the consecration. Galahad, communed by Christ (who ordains him on the spot with the words “share with all / that this blest sacrament may heal / My people and My land”), then communes those gathered, and finally a resurrected Dindrane. Sir Bors afterward draws the lesson of this scene: “in any church / where people kneel and pray… the Holy Grail may come to us / on any Sabbath Day.” Perhaps this would have been more powerful if more allusive, but one cannot fault the theological beauty Guite seeks to evoke, an image of the cosmos restored by sacramental participation.
and keep it in your heart.
The living creatures will be near,
but most of all, in trial or fear,
the chapel of your heart must bear,
like mine, the true White Hart.
At first, Guite’s poetry seems quaint, if technically accomplished; archaisms and contemporary language mingle in a sing-song rhythm with predictable rhyming elements. But in the end, I think he strikes a good balance between readability, sonority, and fidelity to the language of Malory. Galahad and the Grail is not a demanding read, even for those who have no developed taste for poetry; I would have read it delightedly as a twelve-year-old. This is likely to be the version of the story I use if I ever get the chance to teach it to high school students.
Feast of Sts Philip and James, 2026
Want to Read
May 15, 2026
May 24, 2026
There aren't enough stars to grant this phenomenal book. His love for the sources of Arthurian Lore shines through each line of his Lyric Ballad. His focus on the Sacred and Numinous in this new Arthuriad felt like I was reading The Grail Quest for the first time. And I too have read much of the source material that he draws on in this work. His back matter is also fantastic. You will find Lewis, Tolkien, Donne, Dante, and so many others in these pages. But most of all, you will find the Grail: the Gospel itself going through a newly converted England. This isn't a cynical modern work. It is an attempt to truly enter into the Medieval Christian experience and Christian Mysticism. The critique of modern environmental issues hits even closer because it is so sincere and finds the source behind the source to borrow one of his lines Galahad speaks to a grieving Naiad to encourage her to seek that alone which can bring true healing to her polluted waters. I hope he gets to finish the other 11 books.
May 22, 2026
By God’s grace, Malcolm has worked a wonder. It's a great mixture of merry adventure and transcendent glory. I look forward to the next volumes and to re-reading this one often.
May 27, 2026
Wow. A masterpiece of poetry and enchanting storytelling. Guite rekindles our Christian and poetic imaginations. Crotts' accompanying illustrations are also magnificent.
May 17, 2026
Following along in the beautifully illustrated book while listening to Malcom Guite read his epic poem is a perfect pairing. The information read in the appendices was enlightening and helpful.
May 26, 2026
What a magnificent poem! I have long loved the story of the Grail in all its versions, and this collects them all and adds so much that is new. Guite has such a wonderful sense of the poetry of King Arthur's court and the quest for the Grail, but also of the importance of the natural world and the Wasteland in the story. Everything comes together so beautifully. Although it has "modern" elements, Guite is able to keep the story firmly as a romance and very medieval
I am a Christian and a priest, and I have always loved how the Christian tradition has taken these tales and made them their own. Guite's version is Christian through and through, and I think this is the main reason for its deep power. There is such peace and grace and beauty in these elements, and they make the story and characters come alive, especially Bors, Percival, Dindraine, and Galahad. This poem helps me love Creation, God, and the Mass more deeply.
I am a Christian and a priest, and I have always loved how the Christian tradition has taken these tales and made them their own. Guite's version is Christian through and through, and I think this is the main reason for its deep power. There is such peace and grace and beauty in these elements, and they make the story and characters come alive, especially Bors, Percival, Dindraine, and Galahad. This poem helps me love Creation, God, and the Mass more deeply.
April 22, 2026
Guite in the appendix to this book highlights one of the draws of the Arthurian tales is that there is no single version but rather the story has evolved with many writers each adding their own voice to the story. He views his contribution as adding fresh leaves to the great tree of the stories that have come before and what an incredible retelling it is.
Reading this book, you immediately feel the care with which the story is approached both through the words of Guite and Stephen Crotts incredible illustrations which are very much a part of the poem itself. Reading this truly takes you to another place in a vein similar to CS Lewis and Tolkien.
In a world of quick and convenient, Galahad and the Grail is a labor of love that touches something deeper that has moved generations before us. “Poet, take up the tale!”
Reading this book, you immediately feel the care with which the story is approached both through the words of Guite and Stephen Crotts incredible illustrations which are very much a part of the poem itself. Reading this truly takes you to another place in a vein similar to CS Lewis and Tolkien.
In a world of quick and convenient, Galahad and the Grail is a labor of love that touches something deeper that has moved generations before us. “Poet, take up the tale!”
May 20, 2026
Simply a beautiful work. From the story, to the illustrations, to the binding and presentation of the whole, this is a substantial book. You can tell that Guite has poured a lot of his life into its making.
May 28, 2026
Guite had me until the transubstantiation.
May 19, 2026
Not only is this a poetic achievement, or a resistance of the machine, or a great artwork of re-enchantment, or a lifelong work, or a sacramental worldview in mythopoaic verse, or a joy to read aloud, or the most insightful bit of literary criticism tucked away in an appendix on the metaphor of wasteland, it is bread and wine for the ear. Read it and weep. Read it and laugh. Read it and let the scales fall from your eyes.
December 6, 2025
[ARC gifted via Netgalley in exchange for a fair review]
A charming and skilful retelling of the Grail Quest in lovely poetic form; recalls medieval Arthurian narratives, Tennyson, Coleridge, and Tolkien without being derivative, and brings a bit of extra flair to the original narratives / Malory's Morte, via an increased interest in the ecocritical and natural world with the original episode of Galahad & the Naiad, and an extended focus on the Oak, Ash, and Thorn. It also provides an increased role for Percival's sister, who doesn't even get a name in Malory's Morte (Guite pulls the name Dindrane from a separate source I think?) but here has her own miniature quest in an episode that recalls the Rime of the Ancient Mariner very powerfully. Some combining of various characters/plotlines/elements from various sources in places, but given that it seems they do serve to simplify the narrative and create one coherent story it seems reasonable. I do think it's fitting for modern Christians to explore the Galahad and Grail narratives, being that they are so inextricable from their medieval religious basis and unlike other Arthurian stories it's pretty much impossible to secularise them, something that various modern retellings often have trouble with, (but not Guite!). Very beautifully written and engaging, a massively impressive poetic feat you see less and less these days. I felt in places it was a tiny bit clunky in the pacing, but on the whole pretty well balanced considering just how much stuff happens on the grail quest and how skimmy medieval poets could be. I don't imagine people who want from their Arthuriana the sword-swinging mighty battles will find what they're looking for here, but this is impressively true to the experience of reading the original sources... without, you know, being in Middle English. Or Old French. Or anything else.
Some formatting issues in my kindle preview with the anti-distribution warning appearing to obscure some lines and others not having the correct formatting or line breaks yet, but I could generally get through that without too much trouble, and of course that will be fixed in the final edition. I enjoyed both Clarke's foreword and Guite's afterwords, and thought they had a lot of really good thoughts on how Arthuriana may (and may not) fit into a modern Britain, and Stephen Crotts's woodcut style illustrations were lovely.
A charming and skilful retelling of the Grail Quest in lovely poetic form; recalls medieval Arthurian narratives, Tennyson, Coleridge, and Tolkien without being derivative, and brings a bit of extra flair to the original narratives / Malory's Morte, via an increased interest in the ecocritical and natural world with the original episode of Galahad & the Naiad, and an extended focus on the Oak, Ash, and Thorn. It also provides an increased role for Percival's sister, who doesn't even get a name in Malory's Morte (Guite pulls the name Dindrane from a separate source I think?) but here has her own miniature quest in an episode that recalls the Rime of the Ancient Mariner very powerfully. Some combining of various characters/plotlines/elements from various sources in places, but given that it seems they do serve to simplify the narrative and create one coherent story it seems reasonable. I do think it's fitting for modern Christians to explore the Galahad and Grail narratives, being that they are so inextricable from their medieval religious basis and unlike other Arthurian stories it's pretty much impossible to secularise them, something that various modern retellings often have trouble with, (but not Guite!). Very beautifully written and engaging, a massively impressive poetic feat you see less and less these days. I felt in places it was a tiny bit clunky in the pacing, but on the whole pretty well balanced considering just how much stuff happens on the grail quest and how skimmy medieval poets could be. I don't imagine people who want from their Arthuriana the sword-swinging mighty battles will find what they're looking for here, but this is impressively true to the experience of reading the original sources... without, you know, being in Middle English. Or Old French. Or anything else.
Some formatting issues in my kindle preview with the anti-distribution warning appearing to obscure some lines and others not having the correct formatting or line breaks yet, but I could generally get through that without too much trouble, and of course that will be fixed in the final edition. I enjoyed both Clarke's foreword and Guite's afterwords, and thought they had a lot of really good thoughts on how Arthuriana may (and may not) fit into a modern Britain, and Stephen Crotts's woodcut style illustrations were lovely.
May 27, 2026
You can’t be on Substack much right now and not hear about this book. I saw it floating around. The beautiful cover certainly caught my eye, but it wasn’t until Christopher over on the Beautiful Ache shared the opening poem that I got on the bandwagon. Unfortunately, two things formed a possible roadblock for me. One, I’m not a very big Arthurian fan. I found myself turned off by Lancelot and Guinevere as a child and had not worked to overcome my childish dislike of that part of the story. Things started to shift a few years ago when a dear friend convinced me to watch BBC’s Merlin. Shortly after finishing that heart-rending show, I read The Once and Future King by T.H. White. That strange and wonderful book helped me start to get the Arthurian legend just a bit more. As an adult, I’m not so easily appalled when grownups fail and I’m much quicker to forgive those failings. Part of the roadblock had shifted. Two, I’m not a poetry reader. Now this is a failing I see in myself. I have two people who mean the world to me that love poetry: Sarah and Alana. For their sake, I’ve been making an effort. I’ve worked on memorizing some poetry, which has helped foster a love for it. Recently, I read the Lays of Beleriand by JRR Tolkien. I read it and loved it. I tried to read it a few years ago and couldn’t get into it. This time, I was captured by Tolkien’s lays. The wordsmithing, the construction, the rhythm astounded and thrilled me. The roadblock had been shoved aside, opening the path for me to read this book.
What I didn’t expect was to sit down and read this book. I expected an initial excitement based upon ooooh! new, shiny, pretty book that quickly dispelled into short reading pockets over the next several weeks as I semi-slogged through the ballad. That isn’t what happened at all. I started reading it, was instantly hooked, and read it in about three or four evenings. I read it like I would read a “fun book” not like I would normally read something that required more focus. That means this is a well-written and approachable book. Don’t let the ‘ballad’ aspect concern you. It is easy to read and follow – which means it was very skillfully written. This also allowed me to see my own growth. I’ve been training my mind to handle meatier books. I don’t mind fluff, but I want to be able to engage in books that are well written, challenging, and add to my internal literary conversation. Reading this like I would read a Louis L’Amour or Bernard Cornwell gave me a glimpse of my personal growth.
So, what did I get out of the book? That is a weighty question that I’m still wrestling with. The actual ballad was beautiful, wonderful, and rich. For the first time, I think I really grasped the idea, or saw the idea, of baptizing legends. This is a Christian legend. The idea of the baptized imagination clicked in my head. (I know baptized myths and legends is what Narnia is all about, but I think there is a familiarity there that makes it less obvious to me.) Everything about this ballad was Christian. Did I agree with everything? No. I’m a Reformed Baptist, not Orthodox or Roman Catholic. I could sense that theological difference especially towards the end of the story. But there was still great beauty here and expressions of truth and the gospel. For the first time I truly loved Lancelot and how his love of Guinevere was handled. He feels the weight of his guilt, repents, is forgiven, becomes a better man. (Typically, I’ve only liked the versions where they skip that aspect of the story. This time it wasn’t skipped; it was turned into the gospel.) I also loved how the myths of dryads and naiads and the white stag were all made to serve at Christianity’s table. So that man and creation worshiped Christ and served him. I loved Dindrane. She went on an adventure and joined the Quest but not as a knight. That refreshed my soul. Dindrane is good, kind, brave, trusting, and loving of the men around her. She sacrifices herself and gives the knights courage. She was uplifting and inspiring. This was a beautiful book across the board.
The illustrations are also wonderful. The beautiful way this book has been printed is worth every penny. You’re not just paying for the work and love poured into the ballad, but also for some gorgeous artwork. From the printing, the color choice, the wordsmithing to the illustrations, this whole book is a work of art.
I was surprised by the conversation this book had with Between Two Fires by Christopher Buehlman. I didn’t realize that Buehlman had pulled a bit from some of the Arthurian Legends. Between Two Fires is man, creation, and myth under the curse. Galahad and the Grail is man, creation, and myth after the coming of Christ, after salvation. Reading them back-to-back was quite an experience. On the one hand, I feared that if I set them next to each other, they would both go up in flames. On the other, I wanted to re-read Between Two Fires, pen in hand, immediately. Curses on getting it from the library and not buying my own copy!
The Appendix was also nourishing to my mind. I appreciated hearing from Guite how he went about writing this book, his inspiration, goals, and knowledge about the Arthurian Legends. One line resounded through me: “…the Romantic resistance to the dead hand of reductive scientism.” This line perfectly described what I ultimately gained from Planet Narnia by Michael Ward. There used to be a way of looking at the world that wasn’t the materialistic, cold, empty scientific way we look at it now. Planet Narnia started me down the path of re-enchantment. This line also summed up my heart for homemaking. I love romanticizing home and the work I do here. I bring that out as much as I can in my HearthKeepers Group. I’ve done this my whole life. It is the chief use of my imagination. This gave me a why. Why have I always been drawn to romances as Tolkien and Lewis would call them, not bodice-rippers, but stories with beauty, adventure, and goodness? Because it is a small but stubborn resistance to the “dead hand of reductive scientism.” I am body and soul, not just body. I am more than a machine. I live in a world far more wonderful than science can explain.
And, this dear reader, is why I talk about the conversation between books. This is what that looks like in my mind apothecary, watch out for the cauldron. This book was a gift and a joy. I’m excited to read them all.
What I didn’t expect was to sit down and read this book. I expected an initial excitement based upon ooooh! new, shiny, pretty book that quickly dispelled into short reading pockets over the next several weeks as I semi-slogged through the ballad. That isn’t what happened at all. I started reading it, was instantly hooked, and read it in about three or four evenings. I read it like I would read a “fun book” not like I would normally read something that required more focus. That means this is a well-written and approachable book. Don’t let the ‘ballad’ aspect concern you. It is easy to read and follow – which means it was very skillfully written. This also allowed me to see my own growth. I’ve been training my mind to handle meatier books. I don’t mind fluff, but I want to be able to engage in books that are well written, challenging, and add to my internal literary conversation. Reading this like I would read a Louis L’Amour or Bernard Cornwell gave me a glimpse of my personal growth.
So, what did I get out of the book? That is a weighty question that I’m still wrestling with. The actual ballad was beautiful, wonderful, and rich. For the first time, I think I really grasped the idea, or saw the idea, of baptizing legends. This is a Christian legend. The idea of the baptized imagination clicked in my head. (I know baptized myths and legends is what Narnia is all about, but I think there is a familiarity there that makes it less obvious to me.) Everything about this ballad was Christian. Did I agree with everything? No. I’m a Reformed Baptist, not Orthodox or Roman Catholic. I could sense that theological difference especially towards the end of the story. But there was still great beauty here and expressions of truth and the gospel. For the first time I truly loved Lancelot and how his love of Guinevere was handled. He feels the weight of his guilt, repents, is forgiven, becomes a better man. (Typically, I’ve only liked the versions where they skip that aspect of the story. This time it wasn’t skipped; it was turned into the gospel.) I also loved how the myths of dryads and naiads and the white stag were all made to serve at Christianity’s table. So that man and creation worshiped Christ and served him. I loved Dindrane. She went on an adventure and joined the Quest but not as a knight. That refreshed my soul. Dindrane is good, kind, brave, trusting, and loving of the men around her. She sacrifices herself and gives the knights courage. She was uplifting and inspiring. This was a beautiful book across the board.
The illustrations are also wonderful. The beautiful way this book has been printed is worth every penny. You’re not just paying for the work and love poured into the ballad, but also for some gorgeous artwork. From the printing, the color choice, the wordsmithing to the illustrations, this whole book is a work of art.
I was surprised by the conversation this book had with Between Two Fires by Christopher Buehlman. I didn’t realize that Buehlman had pulled a bit from some of the Arthurian Legends. Between Two Fires is man, creation, and myth under the curse. Galahad and the Grail is man, creation, and myth after the coming of Christ, after salvation. Reading them back-to-back was quite an experience. On the one hand, I feared that if I set them next to each other, they would both go up in flames. On the other, I wanted to re-read Between Two Fires, pen in hand, immediately. Curses on getting it from the library and not buying my own copy!
The Appendix was also nourishing to my mind. I appreciated hearing from Guite how he went about writing this book, his inspiration, goals, and knowledge about the Arthurian Legends. One line resounded through me: “…the Romantic resistance to the dead hand of reductive scientism.” This line perfectly described what I ultimately gained from Planet Narnia by Michael Ward. There used to be a way of looking at the world that wasn’t the materialistic, cold, empty scientific way we look at it now. Planet Narnia started me down the path of re-enchantment. This line also summed up my heart for homemaking. I love romanticizing home and the work I do here. I bring that out as much as I can in my HearthKeepers Group. I’ve done this my whole life. It is the chief use of my imagination. This gave me a why. Why have I always been drawn to romances as Tolkien and Lewis would call them, not bodice-rippers, but stories with beauty, adventure, and goodness? Because it is a small but stubborn resistance to the “dead hand of reductive scientism.” I am body and soul, not just body. I am more than a machine. I live in a world far more wonderful than science can explain.
And, this dear reader, is why I talk about the conversation between books. This is what that looks like in my mind apothecary, watch out for the cauldron. This book was a gift and a joy. I’m excited to read them all.
June 1, 2026
I don't say this lightly - this is now one of my top five favorite books, dethroning many of my all-timers and making me consider what true, good literature even is.
I need more time to process all my thoughts, but in short, it's the book that I've been waiting for. It's its own Once and Future Read, taking the myths, themes, and messages of classic Christian writing and bringing it back to the forefront in our darkest time of need; it's its own Grail, merging the realms of Christianity and Fiction, unveiling what is possible within this genre and showing us that it CAN be done right in the modern day, that all hope for stories that, as Guite puts it, "baptizes the imagination" are here and dunking people as we speak.
I've dedicated my life to ushering in a new era of Christian Fiction. I spent my four years of college on it, I spent the past fifteen years of my life writing my "new Narnia," I plan to spend the years I have left pursuing this calling like I'm a knight on a quest all my own. This is my Siege Perilous - how glad I am that Mr. Guite is already seated there, taking up the tale. I'd be honored to be his Sir Bors, and I'd even settle for Melias.
Mark my words: Malcolm Guite will be spoken amongst the likes of Tolkien, Lewis, MacDonald, and more, more so than he already is. The success of this story - sold out after the first run, fans clamoring for more, bookstores (like my own) unable to even get their first stock in - is a success of the Lord. HE alone is praised in this work. We're called back to Him in every beautiful line, gorgeous verse, tear-dripping and chin-wrinkling message. God is PRAISED by this fiction. How good is that? How good...how good.
My only hope is that as I continue to work, I can achieve even a speckle of Guite's masterwork here. This story delighted my *soul.* It revitalized the love for knights and their adventures that I surrounded myself with as a youth, only now I see their charge not as a fun tale, but a challenge, a beckoning to be a man who embodies bravery, justice, gentleness, who falls on his face for the Lord and puts himself in His hands as a servant above all else. Chivalry is dead only if we excommunicate God from it. Guite makes sure the two are hand-in-hand, and with that, urges me to become better than I am. THAT is what good literature is meant to do. THAT is the charge of a story. I can't bend to the rigidity of the "immanent frame" any longer. I crave that goodness. Too long have I been without it, be it in secular institutions or dragging myself from book to book. I need more - and I hope I'm but one hand in helping that come to pass.
Galahad and the Grail is, for me, one of Lewis's signposts of Joy. It's essence of loveliness and beauty enraptured me, sent me on a journey I devoured yet begged to never end. But above all, it pointed right back to God. It's the mark of both a baptized imagination and baptized pen. Lord, help me to write as such. To create as such. To LIVE as such.
I'm a better man because the tale was taken up.
...
(And there's THREE MORE OF THESE!?)
I need more time to process all my thoughts, but in short, it's the book that I've been waiting for. It's its own Once and Future Read, taking the myths, themes, and messages of classic Christian writing and bringing it back to the forefront in our darkest time of need; it's its own Grail, merging the realms of Christianity and Fiction, unveiling what is possible within this genre and showing us that it CAN be done right in the modern day, that all hope for stories that, as Guite puts it, "baptizes the imagination" are here and dunking people as we speak.
I've dedicated my life to ushering in a new era of Christian Fiction. I spent my four years of college on it, I spent the past fifteen years of my life writing my "new Narnia," I plan to spend the years I have left pursuing this calling like I'm a knight on a quest all my own. This is my Siege Perilous - how glad I am that Mr. Guite is already seated there, taking up the tale. I'd be honored to be his Sir Bors, and I'd even settle for Melias.
Mark my words: Malcolm Guite will be spoken amongst the likes of Tolkien, Lewis, MacDonald, and more, more so than he already is. The success of this story - sold out after the first run, fans clamoring for more, bookstores (like my own) unable to even get their first stock in - is a success of the Lord. HE alone is praised in this work. We're called back to Him in every beautiful line, gorgeous verse, tear-dripping and chin-wrinkling message. God is PRAISED by this fiction. How good is that? How good...how good.
My only hope is that as I continue to work, I can achieve even a speckle of Guite's masterwork here. This story delighted my *soul.* It revitalized the love for knights and their adventures that I surrounded myself with as a youth, only now I see their charge not as a fun tale, but a challenge, a beckoning to be a man who embodies bravery, justice, gentleness, who falls on his face for the Lord and puts himself in His hands as a servant above all else. Chivalry is dead only if we excommunicate God from it. Guite makes sure the two are hand-in-hand, and with that, urges me to become better than I am. THAT is what good literature is meant to do. THAT is the charge of a story. I can't bend to the rigidity of the "immanent frame" any longer. I crave that goodness. Too long have I been without it, be it in secular institutions or dragging myself from book to book. I need more - and I hope I'm but one hand in helping that come to pass.
Galahad and the Grail is, for me, one of Lewis's signposts of Joy. It's essence of loveliness and beauty enraptured me, sent me on a journey I devoured yet begged to never end. But above all, it pointed right back to God. It's the mark of both a baptized imagination and baptized pen. Lord, help me to write as such. To create as such. To LIVE as such.
I'm a better man because the tale was taken up.
...
(And there's THREE MORE OF THESE!?)
May 31, 2026
Just lovely. This is one of those books that you want to savor. You don’t want it to end, but yet you can’t put it down. It makes you homesick for a time and a land you’ve never actually seen. A place where loyalty and trust, love and courage, fidelity and virtue and chivalry are practiced and honored.
Mr Guite said it so well in his Introduction in Appendix A regarding his inspiration to write “an epic retelling of the legends of King Arthur.”
“I saw how beautifully writers like C. S. Lewis and J. R. R. Tolkien had re-awakened our desire for the marvelous and mysterious, and how their stories, often drawing subtly on Arthurian motifs, had reached out with truth and beauty to so many who had scarcely known, until they turned the pages of Narnia and the Lord of the Rings, how much they longed for these tales of imagination and how these tales reawakened what Lewis, in The Weight of Glory, called that “inconsolable secret,” our yearning for that “far-off country,” which we glimpse when, for a while, the veil is lifted, and we see how God moves in and through His creation and draws us back to Him. “
Like the works from Lewis and Tolkien mentioned above, Galahad and the Grail will be a story I re-read often. The illustrations by Stephen Crotts are truly magical and add so much to this unforgettable book.
Mr Guite said it so well in his Introduction in Appendix A regarding his inspiration to write “an epic retelling of the legends of King Arthur.”
“I saw how beautifully writers like C. S. Lewis and J. R. R. Tolkien had re-awakened our desire for the marvelous and mysterious, and how their stories, often drawing subtly on Arthurian motifs, had reached out with truth and beauty to so many who had scarcely known, until they turned the pages of Narnia and the Lord of the Rings, how much they longed for these tales of imagination and how these tales reawakened what Lewis, in The Weight of Glory, called that “inconsolable secret,” our yearning for that “far-off country,” which we glimpse when, for a while, the veil is lifted, and we see how God moves in and through His creation and draws us back to Him. “
Like the works from Lewis and Tolkien mentioned above, Galahad and the Grail will be a story I re-read often. The illustrations by Stephen Crotts are truly magical and add so much to this unforgettable book.
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May 6, 2026Thank you to NetGalley and Rabbit Room Press for an eARC in exchange for an honest review
I love Arthurian everything so reading Guite's poetry of the Holy Grail was a delight. I read Tennyson's Idylls of the King at the beginning of this year and I could draw some parallels between the beautiful rhythmic style. I particularly enjoyed the foray into some stories that I've not spent much time with, and it made a nice break from Sir Gawain and the Green Knight, on which I wrote my dissertation this year. Guite's detailed appendix also has provided me with a list of tomes to work through over the summer, which is an extra bonus!
I love Arthurian everything so reading Guite's poetry of the Holy Grail was a delight. I read Tennyson's Idylls of the King at the beginning of this year and I could draw some parallels between the beautiful rhythmic style. I particularly enjoyed the foray into some stories that I've not spent much time with, and it made a nice break from Sir Gawain and the Green Knight, on which I wrote my dissertation this year. Guite's detailed appendix also has provided me with a list of tomes to work through over the summer, which is an extra bonus!
May 9, 2026
Malcom Guite, priest, poet, blues guitarist, biker, and pipe aficionado often speaks of "baptizing the imagination." This first in a planned four part epic Arthuriad poem seeks to do just that. This first volume is the central tail: the quest for the Holy Grail.
The book call us to return to stories and worlds that modernity has wandered away from. In a world of Marvel movies, TikTok, and AI programs, there is a latent desire for wonder and fantasy, what C.S. Lewis would call a yearning for a "far off country."
The story is presented in poem, and thus really should be read aloud or listened to be fully appreciated. While it is well written in it's own right, the cadence and rhyme really is enchanting when heard.
We need this story because the story is ultimately about us, and about the world we live in. Presented in the form of imperfect and sinful knights, great beasts, dryads and naiads, and men who have become machines, we see a fantastical reflection of the world. In this Arthurian world, as in our own, sinful men and their foolish decisions have wrought destruction into the world and introduced all kinds of evil to contend with. Guite presents an answer to all these problems. Behind every sword fight, moral dilemma, and as an end to the quest itself, Christ is presented as the only acceptable answer. Christ defeats demons in any form, Christ heals the land, and Christ reunites Heaven and Earth. All these things He does so working through sinful men.
I wouldn't have thought that in 2026 I'd receive something I believe will be one day considered a classic. This is something I should expect will find itself into the halls of the Western Canon itself, along with the Arthuriad's that came before it. Certainly this is something I want my children to be raised on. I cannot recommend this book enough.
The book call us to return to stories and worlds that modernity has wandered away from. In a world of Marvel movies, TikTok, and AI programs, there is a latent desire for wonder and fantasy, what C.S. Lewis would call a yearning for a "far off country."
The story is presented in poem, and thus really should be read aloud or listened to be fully appreciated. While it is well written in it's own right, the cadence and rhyme really is enchanting when heard.
We need this story because the story is ultimately about us, and about the world we live in. Presented in the form of imperfect and sinful knights, great beasts, dryads and naiads, and men who have become machines, we see a fantastical reflection of the world. In this Arthurian world, as in our own, sinful men and their foolish decisions have wrought destruction into the world and introduced all kinds of evil to contend with. Guite presents an answer to all these problems. Behind every sword fight, moral dilemma, and as an end to the quest itself, Christ is presented as the only acceptable answer. Christ defeats demons in any form, Christ heals the land, and Christ reunites Heaven and Earth. All these things He does so working through sinful men.
I wouldn't have thought that in 2026 I'd receive something I believe will be one day considered a classic. This is something I should expect will find itself into the halls of the Western Canon itself, along with the Arthuriad's that came before it. Certainly this is something I want my children to be raised on. I cannot recommend this book enough.
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