If, in a fantastical setting during the twelve days of Christmas, you anticipate lords leaping, geese laying, or partridges in pear trees, you would be severely disappointed.

Despite the existence of seasonal gifts for young Will Stanton, this is no twee tale of sweethearts, nativities, or jolly old St Nicholas. Instead, we are plunged into an intense battle between the Light and the Dark, accompanied by elemental forces in nature and threatened by betrayal.

Following on from "Over Sea, Under Stone" (1965), this novel centers on a new protagonist, Will, but is connected to the earlier novel through the appearance of Merriman Lyon and passing references to the chalice that featured in the earlier Cornish adventure. Will is due to have his eleventh birthday on December 21st, midwinter's day. It's already a magical time, with the sun "standing still" for the solstice. However, Will also happens to be the seventh son of a seventh son, a fact that marks him out for an epic struggle and for which he initially seems ill-equipped.

But Will is no ordinary youngster. He soon discovers that he is one of the Old Ones.

The Stanton family is preparing for Christmas in their Buckinghamshire farmhouse, near the village of Hunter's Combe and not too far from Windsor. But Will's life is completely transformed when, on the eve of his birthday, he meets a tramp known as the Walker and talks with the butler from the nearby manor, Merriman Lyon. Confronted by a sinister Rider in black, Will must draw on ancient depths within himself that he was previously unaware of if the world is not to remain in the grip of a perpetual winter.

"Some writers make a careful detailed plan," the author declared in an interview for this edition of "The Dark is Rising," adding that "others know the beginning and the end and the main characters, and discover everything else as they go along." Believing that writers in the second group "have more fun" to some extent explains the dreamlike structure of the narrative, albeit constrained by the Christmas timeframe. Divided into three parts (defined by the processes of finding, learning, and testing), Will's story reveals how he comes into his powers, aided by the acquisition of material objects and by the support of other Old Ones.

These material objects are talismans of different metals or from natural sources, all defined by a specific shape that allows Will to thread them on his belt. The author has herself drawn deeply from ancient traditions and symbols for these. The belt is a kind of girdle that had significance in native tales and cultures as a sign of power. The talismans can be visualized as an X-shaped cross in a circle, less like Dark Age Celtic wheeled crosses (because they have to be threaded on Will's belt) and more like prehistoric wheel pendants found in Switzerland or the four-spoked wheels of the famous Danish sun chariot found at Trundholm. In terms of the cycle of the year, with Christmas being one of the traditional quarter-days in England, this device then becomes most appropriate.

Cooper has been most magpie-like in her details, drawing from Old Germanic lore (a ship burial), Welsh mythological figures (Merlin, for example, or Math ap Mathonwy), English folklore (Herne the Hunter in Windsor Forest, Wayland and his smithy), Buckinghamshire topography (Dorney Court, for instance, is a model for the local manor house), and generalized pagan customs (greenery indoors, the Yule log, the prehistoric so-called Sorcerer cave painting in the Cave of the Trois-Frères, France). The whole combines to create an undefined, almost miasmic, sense of antiquity into which her innocent 20th-century Stanton family is placed, unconscious of all except the persistent seasonal blizzards and unreasonable cold.

Cooper is adept at evoking nightmarish fear, particularly near the beginning when Will has an overwhelming sense of an unseen malevolence threatening him, but also when Hawkins - the Walker - proves increasingly unreliable and when Will's family members are put in danger. Will himself is, to me, a more enigmatic figure, perhaps arising from this reader's uncertainty about whether to sympathize with him as a young lad facing difficult adult choices or to respect him as a powerful if impersonal wielder of ancient magic. Young one or Old One, which is he? And yet his gently bickering siblings and his bumbling parents are all too recognizable - we know where we are with such relationships.

"The Dark is Rising" is too rich and complex a novel to summarize in a short review, and all I can do is hint at its complex richness. It's like the traditional, very heady Christmas cake filled with ingredients soaked in spirits and served with a dollop of snowy-white cream. It has resounding echoes of the icy landscapes of other children's classics, notably "The Lion, the Witch, and the Wardrobe" (1950) and, even more, "The Box of Delights" (1935). In fact, Hawkins (who first appears as a tramp) brought to my mind the figure of Masefield's itinerant Punch and Judy man, Cole Hawlings. Though I didn't feel as engaged with Will as I expected, and remain rather unconvinced by the nature of the elemental magic, there's no doubt that its dream quality shading into nightmare is the perfect midwinter accompaniment to seasonal festivities, a reminder that the cozy indoors has just a thin barrier between it and the bleak darkness outside.

Will's Signs have a contemporary ring, don't they? When Cooper was writing, the logo of the Campaign for Nuclear Disarmament was very familiar to the public, its distinctive four-armed device in a circle not too dissimilar to Will's symbol. In our own times, of course, the stylized hourglass set in a circle that is the Extinction Symbol is even closer in design than the CND device, paralleling the warnings of climate and environmental disaster contained in "The Dark is Rising."

https://wp.me/s2oNj1-dark

I wouldn't say I completely relished the first installment in this series (Over Sea, Under Stone). However, at the very least, the kids were actively involved in the hunt for the treasure. In this second book, we have a main character who doesn't really do much of anything. He's present when events occur, but that's hardly the same as taking an active role.

When a story begins with a character learning that he must locate certain objects, one would expect the search to be an exciting and complex aspect of the plot. In this book, he is either led to each place where the item is "hidden" and retrieves it with little to no difficulty, or he is simply given the item outright.

A great deal of words are dedicated to discussing the never-ending battle between Light and Dark. But we don't truly receive any details or witness any actual combat. In three separate incidents, the Dark is outside, the people of the Light are inside, and some undefined, nebulous struggle takes place... outside, I assume? It has all the tension of an intense staring contest, further sapped of any danger by the fact that the main character cannot be harmed by the Dark.

There is a deficiency of "world building" here as the rules governing the magic in this story are not explained at all, and the overarching mythos is not explored. Any and all magic occurs matter-of-factly in one sequence after another, seemingly more for show than for any sort of consistent development based on what has come before. I'm not sure if this is because this is the second of five books, but it certainly diminishes the impact of the book as a standalone. (Also, the overuse of capitalizing things to make them seem more significant actually lessens their impact - Dark, Light, Old Ones, Black Rider, Walker, Sign Seeker, Signs of the Light, Circle, Old Magic... and "Things of Power"? Really? Things?)

So far, I haven't been excited or impressed by what I've read in this series. Magic for the sake of magic isn't very engaging, vague "off-screen" battles aren't very thrilling, and main characters who simply go along with the action rather than initiating it result in a lackluster adventure. I'll read the next one, but my Power of Reading Endurance is dwindling.

Though I vividly recalled this as a Christmas story, it actually extends all the way to Twelfth Night. So, I initially thought of pausing for a while.

However, Christmas Day concluded with the nation being besieged by unnaturally dreadful weather. The transport systems were completely paralysed. And considering I had a train to catch today, leaving matters in such a state seemed extremely unwise.

This book is far stranger than Over Sea, Under Stone. Hunting for one magic item while on holiday is rather standard. But for all six ancient and powerful Signs to be located in Will Stanton's home village - that truly is the enchantment of the everyday.

Similarly, the way he effortlessly slips backward and forward in time, with his family remaining completely oblivious, is quite remarkable. It is every bit as peculiar and powerful as I remembered it to be.

3.75 stars. Long past childhood, I delved into this book for the very first time. It earns high marks for its fabulous writing, as seen in the excerpt below, and for the vivid setting that makes you feel as if you are right there, during the Christmas season, in Hunterscombe, England.

The plot is quite gripping. The scene in the church on Christmas Day, after everyone has left, is particularly intense. So is the scene in Will's home when a very unwelcome guest is invited in. And the scenes of the bone-biting deep-freeze that strikes add to the excitement. There are other good scenes that come to mind as well.

However, as the story progresses, it gradually becomes a bit too easy for Will to find the Signs. All six come easily to hand, and they are all hidden right there in his own village. What are the odds of that?

Also, Will never has to sacrifice anything in his epic quest to save the world, even though he has to make a very difficult choice to pass "the testing" later in the book. In contrast, in Tolkien's The Return of the King, Frodo and Samwise suffer great loss. And in The Chronicles of Narnia, Edmund pays a price for falling afoul of the White Witch. I started to realize that nothing bad could happen to any of the protagonists in this book (not even The Lady). Nor to Will's family (unless you count a sprained ankle).

Characterization: The portrayal of Merriman is quite cool, but I wanted to know more about him. That's okay, though, as there is an entire series to explore and learn more. I had a hard time buying into Cooper's portrayal of Will as both an ordinary little boy and an Old One, the protector of the planet. It just seemed odd to me how Will moved back and forth between these two states. The portrayal of The Walker is good. Cooper gives this character some complexity, and there is a reason for his choices, even though I didn't always agree with them. The weakest link in the book is Cooper's almost tautological portrayal of the villain, this vague entity called The Dark. What is it? Who is The Rider? The Light is Good and the Dark is Bad, with no intermediate dusk. There is no yin-yang either. (Cooper is also tautological in another sense, with her redundancy when discussing the Dark, which is coming, yes it's rising, yes it's gaining power).

Writing: It is such a pleasure to read Cooper's descriptions. I felt like I could feel the icy cold floods, hear the rooks croaking overhead, and see the light blazing in the dim church. For example, I loved her opening portrayal of the dreary farmyard just before Christmas:

“The snow lay thin and apologetic over the world. That wide grey sweep was the lawn, with the straggling trees of the orchard still dark beyond; the white squares were the roofs of the garage, the old barn, the rabbit hutches, the chicken coops. Further back there were only the flat fields of Dawson's farm, dimly white-striped. All the broad sky was grey, full of more snow that refused to fall. There was no colour anywhere.”

I had never heard of this book before I came across a random posting on Instagram by BBC. The post listed "Along the 12 Nights is Christmas", which ends on NYE. I was confined to the couch for the foreseeable future and decided to give it a try to take a break from just reading.

To my surprise, I really enjoyed listening to it. The performance was excellent and it reminded me of the stories I had seen or read about that were listened to on the radio back in the 40s and 50s. It's a lost art these days, with the exception of some podcasts, but it's not exactly the same.

I wonder if I would have loved this story as much if I had read it instead of listening. Probably not. That's the truth. It's more geared towards a young audience, but I still had a great time. I even gasped a few times during the listening. And I also loved the song that was included.

Happy New Year's Eve everyone!

We listened to the BBC audio version of this book as a family, starting on Dec 20, just like the book does. We listened to one chapter or episode per day. It was truly a very enjoyable experience to do this together. Owen gave the story a solid 4 stars. I, on the other hand, rated it a 3.5. Dan declined to rate because he fell asleep in about every other episode.

If you are a fan of A Wrinkle in Time, you will likely enjoy this as well. The best aspects of AWIT are present here, but I have the same gripe. There is a child on a great mission, and the adults around the child seem to possess a wealth of information yet they will never disclose anything to the child. They just hold onto their secrets and the child has to figure everything out in the moment, which they do flawlessly. I believe it is meant to create an atmosphere of great mystery and prove that the child is special and chosen, but it annoys me.

Aside from that, the production was excellent. The family interactions among the characters were really charming, and we had a great time doing this as a family. And the song is really wonderful. It's like the song from the Hobbit movie.

Believathon, Book 8: THE DAGGER

The Dark Is Rising Sequence has been on my radar for a long time. It's frequently referenced by fantasy authors as a major influence on them during their young reader/writer days. This is the second book in the sequence, and it's the one that people often consider the best and the true start to the story. I read Over Sea, Under Stone earlier this year and quite enjoyed it from a "history-of-the-genre" perspective. When I approached The Dark Is Rising in the same way, I found that I enjoyed it even more on an entertainment level.

I'm not sure if I missed this series as a child because it skipped my generation or because I wasn't interested in this type of thing back then. I didn't actually discover it and its cultural impact until I was in university. It's a wonderful adventure and one of those modern classic books that truly feels like it should be a modern classic. I highly recommend it for those who are interested in learning more about the origins of contemporary fantasy.

It's a captivating read that combines elements of magic, adventure, and mystery to create a truly immersive experience.

I made a decision to reread this, and believe it or not, it was for the purpose of research.

As I delved into it once again, I've come to the profound realization that Cooper's utilization of Celtic myth is truly almost unique in the realm of literature.

The way she skillfully weaves it into something entirely new and yet coherent is truly remarkable. She manages to do this while still retaining a sense of something indescribably old and mysterious.

The language she employs is nothing short of gorgeous. It has a certain charm and beauty that is captivating.

The atmosphere she constructs with that language is so powerful and unforgettable. It had such a profound impact that it permeated my childhood, leaving an indelible mark.

I truly feel fortunate to have discovered this book at the time that I did. It has been a source of inspiration and wonder for me ever since.

Wow - absolutely stunning!

I can't believe I've only just got round to reading this series of stories. It's truly a hidden gem that I'm so glad to have discovered. The moment I started reading, I was completely captivated by the engaging plots and well-developed characters. Each story seems to transport me to a different world, filled with excitement, adventure, and valuable life lessons.

I very much look forward to my granddaughters reading them when they're older. I'm sure they'll love these stories just as much as I do. It'll be a wonderful opportunity for us to share in the magic and discuss the various themes and ideas presented. I can already envision the smiles on their faces as they embark on these literary journeys. This series of stories is not only entertaining but also educational, making it a perfect choice for young readers. I can't wait to pass on this precious gift to my granddaughters and create lasting memories with them through the power of books.

The Dark is Rising has been a beloved book of mine since I first encountered it at around seven years old. Its midwinter setting makes it a perfect read during Christmas, and I often return to it during this time. However, a few years ago, in 2010, I had a different experience. That year, it snowed heavily before Christmas, and the snow persisted until almost New Year. The real snow and bitter cold outside made the story seem too bleak and real, causing me to put the book aside for a few years.

This year, Robert Macfarlane's Twitter readalong (#theDarkisReading) inspired me to pick up my copy again. Some people are reading strictly during the day, but I prefer to read straight through. I'm glad I made this decision because I remembered that the book skips from Christmas Day to Twelfth Night, and by then, I'll be back at work and not in the mood for a Christmas re-read.

More than 35 years after my first reading, The Dark is Rising still holds up well. The Dark's manipulation of the weather and their ability to entice ordinary people into working for them create a sense of real menace. The description of Will's family Christmas is magical and sets a standard that my own Christmases can't match. I like that Will isn't an isolated child who always felt different. Instead, he's an ordinary boy from a large, loving family, and his struggle to balance his desire for normality with being an Old One is a recurring theme in the series.

However, the book isn't perfect. Like many children's books of its era, it's set firmly in a rural Home Counties England with a clear social hierarchy. There are also limitations to the roles of women among the Old Ones. Additionally, the Light can be just as ruthless as the Dark in their pursuit of their goals.

As with any re-read, I noticed new things this time. The description of the fear Will experiences before his birthday particularly struck me because it's a feeling I'm increasingly familiar with. I also noted mentions of how Time appears to the Old Ones, which reminded me of Four Quartets. The chapter \\"The King of Fire and Water\\" seems to have inspired the second half of Philip Pullman's La Belle Sauvage.

Reread for the umpteenth time.

I first read this when I was around 15 or 16, and have reread it many, many times in the 15 years since.

Often as the sort of slow-paced Christmastime reread that I pursued now, starting on Midwinter Eve and ending on Twelfth Night.

There's a special sort of magic to reading slowly, savouring the seasonal magic of this book on the days that things happen in it.

I always love rereading The Dark Is Rising.

It captures a certain sort of magic better than anything else I can think of.

Old magic, magic tied to our world and yet rising beyond it to the sublime.

I am always struck by how essential music is to this book: the lilting music of the Old Ones that Will hears at times, but also earthly music such as singing carols (the sequence with Good King Wenceslas has stayed with me from the first time I read it) and Paul's flute.

The ending is just amazing, filled as it is with longing and the beauty of music:

And then his hair prickled and his pulses stood still, for from behind him came a sound sweeter than seemed possible in the raw air of the cold morning. [...] The eerie, enchanted lilt floated out through the morning on the still air; Will saw Merriman raise his wild white head as he heard it, though he did not break his stride.

The prose is so gloriously lyrical when it needs to be, without overwhelming the story.

The combination of quotidian and magical is in the prose, too: plain when it should be, poetic when it's called for.

This series should really be more securely among the classics of children's literature - it's just amazing, and especially DIR is basically perfection.

Moreover, the characters in this book are so vividly drawn that they seem to come alive on the page.

Will, in particular, is a wonderful protagonist, growing and changing as he faces the challenges of the Dark.

The supporting cast, from Merriman to Paul and his family, adds depth and richness to the story.

Overall, The Dark Is Rising is a book that I will continue to reread and cherish for many years to come.

It's a true masterpiece of children's literature, and one that should be discovered and loved by readers of all ages.

The second installment of the series was one that I relished as much as the first. In fact, the writing seemed so much more profound that I found myself pondering if it was penned by someone entirely different. Will, the seventh son of a seventh son, discovers his crucial role in the epic war between the Darkness and the Light, set during a time of renewal and illumination. Cooper makes it clear that she is commemorating the pre-Christian era and, once again, giving a more than subtle nod to the Old Ways. For me, this was incredibly captivating and enriching. It provides the young reader with the opportunity to explore beyond the pages and seek a deeper understanding of the meanings behind these customs and the individuals involved.

Although I was drawn to Will, I noticed that he was propelled through the narrative by events beyond his control (with Merriman being central once more) to the extent that he becomes almost otherworldly. Here, Cooper faces the challenge of balancing the sense of the young Will and the very old Will. Fortunately, the story is steeped in religion, legend, and folklore, captivating readers with its allusions to our heritage. There are numerous intertextual references, and one could spend months uncovering the roots and interpretations Cooper made to reach this point. In this regard, this book reminded me a great deal of Garner's work, perhaps "Elidor."

With "The Dark is Rising," as with "Over Sea, Under Stone," we are left with a powerful sense of the conflict between the Dark and the Light. After reading "Dawn of Fear," I can't help but wonder if we are witnessing Cooper's own reflections on the world during her upbringing in WW2. Save for the very interesting character of Hawkin, whom I am eager to discuss.