136arthuriana unrcsolvable 'dichotomyofsecularandspiritual desires' (58) in Malory, shecontends, has remained a popular theme in modern Arthurian literature, especially in the narratives she examines here. With respe« to issues of gender, Hildebrand argues that Malory's text, unlike Geoffrey's, is 'remarkably free, for its time, ofmysogynist depictions ofwomen' (59). Chapters three, four, and five represent the core ofHildebrand's study, providing detailed comparative analyses ofArthurian fiction byStewart, Bradley, and Lawhead. Such a process, by its very complexity, risks losing the reader in a welter ofdetail, but the chapters are carefully organized in parallel structure. Beginning with an overview, each then discusses the reader's relationship to the events and central figure(s) ofeach volume, followed by units on gender and religion, in that order, and concludes with a concise summary. While this unvarying pattern may be perceived by some readers as rather mechanical, it is reasonably effettive from a mnemonic standpoint. Hildebrand has selected these authors for the variety oftheir representations of religion and gender and for the consequent responses their works elicit from the Christian feminist standpoint. 'Stewart's, Bradley's, and Lawhead's novels portray different religious traditions: respectively, an ede«ic monotheism, Neo-PaganWicca, and Christianity' (Abstra«). As to gender, Hildebrand describes Stewarts Merlin as 'gender neutral,' while Bradley's overt attack on patriarchal religious and gender structures is answered by Lawhead's equally unsubtle reinscription ofa patriarchal value system. Although the feminist reader's response to these texts may be readily inferred from their relative gender positioning, Hildebrand interestinglycomplicates her readings by factoring in the Christian element. TheFemaUReaderattheRoundTabUis asolid, well-organizedstudy. Hildebrand's treatment ofboth religion and feminism is scholarly, well-informed, and blessedly non-polemical. Additionally, this is one ofthe few full-length studies I have seen to accord popular Arthurian fiction the sort ofscholarly and critical attention usually reserved exclusively for the products ofhigh culture. In this respect, it is not only a timely contribution to the field, but also one that should establish a model for similar studies in times to come. ELIZABETH S. SKLAR Wayne State University Larry Howard, The Song ofSir Rodthe Long: A Gay Romance ofthe Round TabU. New York: Writers Club Press, 2000. Pp. 212. isbn: 0-595-00599-3. $12.95. Larry Howard's 'gay romance' runs the gamut from the twee to the precious to the witty to the romantic to the pornographic, but it is not equallysuccessful in each of these modes. The epigraph (1I know myqueen would neverwish/To see a knight in armor swish') fairlywarns the readerwhat to expe« in some ofthe queasier moments of the romance. It is not, however, made up entirely of twee and twaddle. The narrative docs have its high points and often displays a cleverlyskewed awareness of REVIEWS137 traditional Arthurian legends. For example, the opening scenes ofRod's unusually close attachment to his mother and his not-quite appropriate approach to Camelot echo the story ofPerceval. The sadism ofCarados ofthe Dolorous Tower (who, in Malory, is first seen whipping a naked and bound Sir Lionel) may have inspired the most unpleasant character in the romance, the accurately, if unsubtly, named Reverend Rectal. Olga, the unbeatable Lesbian knight (knightess?), may have been inspired less by Arthurian exemplars than by such martial women as Spenser's Britomart and Vergil's Camilla, but she too has literary antecedents. While the allusion game may briefly entertain readers ofArthuriana, it is not really crucial to the delight or distaste that Sir Rod may inspire in the reader. The plot is a relatively traditional story ofa country lad, who goes to Camelot to become a knight and pursues a quest that involves his maturing into selfunderstanding and universal acclaim. The basic twist is that Rod is a very effeminate young man, who is taken under the wing (and other appendages) ofthe lovely Sir Bruce, who disappears in the course ofan adventure in Scotland. Rod undertakes the quest ofSir Bruce, acquiring a new more muscular persona in the process, and, along the way, involving himself in a number of adventures of a comic and/or erotic variety, involving lovers and monsters, sadists and lesbians in a somewhat prodigal confusion. The story ends, charmingly, if unusually, with...
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