1980s, page 1 of 8

First published in 1987, Emlyn’s Moon is the sequel to The Snow Spider, but one in which the first book’s protagonist, boy-magician Gwyn Griffiths, is now a secondary character. (Which often seems to happen with boy magicians. Once they’ve come into their powers, particularly if that has involved learning a certain amount of wisdom—which discounts you, Harry Potter—they’re too remote and powerful to be protagonists, and only come in towards the end to help the new main characters. For instance, Ged in the Earthsea books, and Will in The Dark is Rising series.)

Emlyn’s Moon is about Nia, middlemost of the seven Lloyd children (Alun Lloyd was Gwyn’s best friend in the first book). Nia feels she’s useless at everything, and is frequently told so by her teacher at school and her brothers (“Nia-can’t-do-nothing! Nia-in-the-middle! Nia’s got a funny tooth, and her nose goes squiggle, squiggle!”). When her family moves from their farm to town, where her father has taken on a butcher’s shop, they pass a former chapel (“the chapel that wasn’t a chapel now, but a home for someone”) whose door and gate have been repainted in bright pink, gold, and blue. Outside it, she sees Emlyn Llewelyn, a slightly older boy from school, but she’s told (by virtually everyone) that the chapel is “a bad place”, and not to go there, because “Something happened there, didn’t it?” Though no one will tell her what.

One day, though, she bumps into Emlyn in town, they get talking, and he invites her up to the home he shares with his father, a somewhat gruff artist currently living without his wife, who left abruptly a while ago with their new baby. Emlyn later tells Nia he doesn’t know where his mother is, only that Gwyn Griffith’s father took her away, and that she said something about living in the moon. As a result of this, there’s a breach between the Llewelyns and Griffiths, even though Emlyn is Gwyn’s cousin. Nia tells Emlyn and his father about a school project she has to do, where everyone in class has to make, write, or paint something about the town they live in. As she thinks she can’t do anything, she’s dreading it. But Emlyn’s father, Idris, questions her and discovers she can sew, so he fetches a large piece of canvas, and tells her to create a collage. She takes it home, but works on it in secret.

The growing friendship between Nia and Emlyn soon hits a snag. She’d promised that he could buy the Lloyd family’s sheepdog, which isn’t enjoying life in town, only to find her father has given it to the Griffithses. Nia feels ashamed and Emlyn feels betrayed, and it ends in a fight between Emlyn and Gwyn (who, having learned from the playground fight in the previous book, still uses a little magic, but ultimately lets his cousin win).

After this, Emlyn grows increasingly isolated, and when Nia learns about the magic world Gwyn is involved in, and sees, one night, pale child-like figures walking on the outskirts of the town, she worries they’re here to take Emlyn away, just as they took Gwyn’s sister Bethan. She decides she needs to solve the mystery of what happened to Emlyn’s mother, and reunite the two.

The Snow Spider seemed, to me, readable as both a magical tale for pre-teens and as a more complex story for older readers, and Emlyn’s Moon takes that even further. Although there’s no evident fantasy element for at least the first half of the book, the story is carried by the light comedy of Nia’s supposed uselessness, and her attempts to procure materials for her collage (including snipping a section off her sister’s music teacher’s net curtains, which is soon discovered). It’s the subtleties of the relationships—Nia and her large family, Nia and Emlyn, Emlyn and his father—and the mystery of what went on at the chapel that carries the story, rather than the first book’s moments of magical wonder. And when the fantasy does come in, it’s more mysterious and subtly threatening than in the first book. There’s no longer the possibility that the white world which took Gwyn’s sister might be an interesting place to visit, it’s much more clearly a place that people are taken to, but don’t come back from, and (unlike with the first book’s Bethan, who disappeared for seemingly no reason) it’s people who are emotionally vulnerable and isolated who are at risk of being taken. There are glimpses of adult mental illness and levels of distress you wouldn’t normally find in a book for, say, a nine-year-old readership, as in this, of Idris Llewelyn:

To Nia’s horror, the painter laughed. It was not a happy sound. On his face Nia saw a loss that was too unbearable to speak of.

And the odd creepy moment, too:

But up on the bridge something moved, pale yellow in the deadening glare of the street lights, but probably white. Small creatures crossing the bridge: children, no bigger than herself, for the stones of the bridge wall came shoulder high.

The fantastic element in Emlyn’s Moon—the presence of the fairy-like, child-like beings who take people away—is really just a heightening of an element already present in the realistic part of the story: the way people become lost to the communal human world through emotional isolation. Nia is lightly isolated by her “uselessness”, and then by her being drawn into friendship with Emlyn (which has been forbidden by her parents, because of that mysterious “something happened up there”), which even leads to her declaring herself a vegetarian (when her father has just started up a new life as a butcher); Emlyn is more deeply isolated by the split between his parents, his feeling that people think he should have gone with his mother, and his not knowing where his mother is; and his father Idris is isolated by his obsession with his art, which leads him to neglect his dwindling family. And the hint that Emlyn’s mother Elinor has gone to “the moon” implies she’s been taken to that white land, with its silvery-lunar landscape, but when she’s found, and the mystery of the “something that happened” in the chapel is revealed, it’s equally mundane. But as hers is the most extreme isolation, tinged with mental illness, she is the one the fairy-folk come for when they do come.

Emlyn’s Moon is also a novel about art, and though Idris Llewelyn’s absorption in his art is an isolating factor, when Nia’s collage is finally revealed (and surely it’s no spoiler to say that when it’s revealed, it’s a marvellous success, and she’s finally accepted as more than “useless”) art becomes a means of connection, and of escaping the trap of isolation.

With its mostly more realistic story that chimes in so well with the fantasy elements, I think I enjoyed Emlyn’s Moon more than The Snow Spider, and it certainly makes me intrigued to see how the series might be resolved in the final book, The Chestnut Soldier.

Like The Snow Spider, Emlyn’s Moon was adapted for TV, this time in five episodes, running from 6 September to 4 October 1990. Again, it was pretty faithful to the book, though whether the final supernatural events made any more sense on the screen than on the page, I don’t know.

Published in 1986, Jenny Nimmo’s The Snow Spider is the first in a trilogy of pre-teen fantasies about a boy who discovers he’s a magician, and the glimpses he gets of another world of Welsh myth and magic. But if that makes it sound like a light, early Harry Potter-style adventure, I think it’s got a bit more depth than that.

For his ninth birthday, Gwyn’s Nain (grandmother) gives him a set of strange gifts: a tin whistle, a twisted metal brooch, a yellow scarf, a piece of seaweed and a broken wooden horse. Among these, the only thing he recognises is the scarf, which was worn by his sister Bethan on the night she disappeared—the night of his birthday four years ago, when he convinced her to go out in a storm to find his favourite ewe. Gwyn’s father blames the boy for Bethan’s disappearance, resulting in an “unbearable emptiness” between them. But Nain’s gifts, odd as they are, have a purpose: she wants to see if Gwyn, who she says is descended from the legendary Gwydion fab Dôn, is a magician. He has to offer these objects, one by one, to the wind, and in return, if he is a magician, he’ll get his heart’s desire.

Gwyn takes the brooch onto the mountainside and the wind snatches it from his hand. It’s snowing, and on the way back he thinks a particularly large and beautiful-looking snowflake has landed on his shoulder, but when he touches it, it proves to be a glittering white spider. That night, the spider spins webs in Gwyn’s room in which he can see another world, entirely white, as though made of ice and snow.

Gwyn, then, knows he is a magician. But his Nain has warned him what this means:

“You’ll be alone, mind. You cannot tell. A magician can have his heart’s desire if he truly wishes it, but he will always be alone.”

Being a nine-year-old boy, though, he of course tells his best friend Alun. Alun doesn’t believe him, and is a little annoyed at what he thinks is his friend trying to bring attention to himself (not to mention the fact Gwyn gets him out of bed to tell him he’s just given the seaweed to the wind and saw a ship sailing through the sky). Gwyn makes Alun promise not to tell anyone, but of course, being a nine-year-old boy, he does, and soon everyone at school thinks Gwyn is mad. Bullied by some of the boys in his class, he’s finally forced to use his magic for a practical purpose: to bash one of the bullies on the nose from a safe distance. In a more wish-fulfilling type of story, that might be the end of the bullying. Instead, the other boys pile on Gwyn and beat him up, after which the parents of the boy whose nose was bashed come round to complain to Gwyn’s parents. Being a magician, it seems, isn’t a lot of fun.

It’s at this point, though, that another character enters Gwyn’s story, a new girl at school, who helps him home after his beating. Eirlys (meaning “snowdrop”) is an orphan who has recently moved in with a local couple. But there’s something familiar about her, both to Gwyn and his father, who takes an instant liking to the girl. Although Bethan was dark-haired and ought to be older by now, and Eirlys is pale and white-haired and of Gwyn’s age, both Gwyn and his father start to suspect this is Bethan, back from wherever she went. (Gwyn’s mother, on the hand, gets distressed when it’s suggested Eirlys sleep in Bethan’s room—she’s evidently not ready to accept what is happening.)

But what is happening? It’s a long time before Gwyn asks Eirlys directly if she is his sister, and when he does, she says:

“I’m not Bethan… I might have been Bethan once, but now I’m Eirlys. I’ll never be Bethan again. I’ve been out there… Further than the mountain! Further than the sky!”

And she intends to return to that white otherworld that is now her home, a world populated entirely by children, “Only they’re not really children, they’re quite old, and very wise.” The fact that they’re small (little people) and that they and their world are entirely white (like Machen’s “white people”) all implies that Bethan wasn’t snatched away to some Narnia-like magical otherland or even the land of the dead, but to faerie. And that changes everything about The Snow Spider, from being a story about a boy magician, to being a story about a boy entangled in the difficult and deceptive Perilous Realm.

Things get even more complicated when Gwyn’s mother, discovering the snow spider and thinking it’s just a spider, throws it down the sink. Desperate to get it back, Gwyn takes up the only one of Nain’s presents he’s not used, the broken horse. But this is the one his Nain warned him not to use:

“I’m afraid of that horse,” she said thoughtfully. “I tried to burn it once, but I couldn’t. It was still there when the fire died, black and grinning at me.”

The horse’s broken-off ears and tail tie it to the legendary story of Efnisien, who, offended that the King of Ireland had come to marry his sister Branwen without asking his permission, cuts off the king’s horses’ ears, tails, lips and eyelids. It’s one of those savage images from myth that capture an almost ineffable degree of anger and pain, and which would be more at home in the adult work of Robert Holdstock than a book for children.

Giving the horse to the wind unleashes a dark, wild power in the valley, which rages as a storm, breaks into Nain’s house, wrecks the place and kills her pet bird, then kills Gwyn’s family’s cat. And, in a replay of Bethan’s disappearance, Alun gets lost in the storm, and Alun’s parents blame Gwyn for it.

Even if Gwyn’s heart’s desire wasn’t the return of his sister, it was at least the hope for “something that would change the way things were, to fill the emptiness in the house below” (the coldness between himself and his father), but it seems that involvement in the world of magic has only led to, as his Nain warned, loneliness: bullying at school, the loss of his friend Alun, and the revelation that his returned sister is only here temporarily. There are other moments that underscore Gwyn’s isolation even beyond his involvement in magic, such as:

“He tried to respond to his mother’s probing chatter without giving too much away for he felt he had to protect her. He did not want her to know that his friends thought him mad.”

But, as if that final unleashing of rage and destruction into the valley was what was really needed all along—as if that power wasn’t just from ancient Welsh myth, but represented all the unspoken anger and betrayal surrounding Gwyn, his father, Alun, and Bethan—things change. Gwyn recaptures the angry power back into the broken horse, Alun returns, and everything is, somehow, resolved. But Eirlys says she’s returning to the white land, and even, faerie-like, tries to persuade, then drag, Gwyn with her.

All this might sound as though The Snow Spider were about nothing but isolation, peril and darkness, but Nimmo presents it in such a way that it can easily be read as a straightforward tale of a boy magician encountering the thrills and exciting dangers of the world of magic. The faerie-like perils, and the deeper emotional currents beneath it all are treated lightly, as though leaving them there for the reader to notice, if that’s the sort of tale they’re ready for. I’m certainly interested to see where Nimmo takes the next two books, and what light it throws on the people of the white land, and their true nature.

The Snow Spider has been adapted for TV twice, once in 1988 for ITV (when it was followed by adaptations of the other two books in the trilogy), and once more in 2020 by the BBC. The 1988 adaptation is quite faithful, while the 2020 adaptation, though it feels a bit more polished, makes a number of minor changes. (For instance, in the novel, when Gwyn’s father sees Eirlys, he’s keen to offer her a lift home after her visit, and later says he’ll drive her back whenever she wants to visit. In the 2020 adaptation, it’s Gwyn’s mother who gives her a lift home—the Beeb evidently didn’t want to encourage girls to get into cars with men they don’t really know. Another change is that it’s not Gwyn’s mother who throws the snow spider away: its clearly magical, so she never gets to even see it. Instead, it’s Eirlys who temporarily banishes it, underlining her moral ambiguity as a character.) The only change I really didn’t like is the fact that the snow spider makes cute squeaking noises.

The 2020 adaptation has a title sequence and music oddly reminiscent of A Game of Thrones (pounding drums while the camera hovers over close-up rotating objects), which makes the ash-blonde Eirlys start to seem like a young Daenerys. The ending, clearly setting this up to be followed by further adaptations, makes it clear Eirlys and the other “White People” aren’t to be trusted, but presumably the pandemic put paid to any further adaptations, which is a pity.

Louise Lawrence’s 1986 YA Moonwind is something of a thematic sibling to her earlier novels Star Lord and Earth Witch, and though it’s ostensibly SF, it’s better read as a fable or fantasy that uses the backdrop of space and technology to heighten its themes. (Perhaps a better description might be New Age SF, considering its allusions to ancient Atlantis, humans being partly descended from aliens, and the idea that aliens are more like spiritual beings than bug-eyed monsters.)

It starts with a spaceship being forced to land on a barren moon for repairs. For some reason, only junior technician Bethkahn is left onboard to assess the damage (and to discover there’s one thing she can’t repair), while the rest of the crew take a secondary craft to the nearby blue planet. Landing on an island, that craft is destroyed when a volcano erupts, leaving Bethkahn isolated, alone, and unable to take off. The ship’s computer suggests she enter suspended animation, from which it will wake her when the situation changes. And it does, ten thousand years later, but with alarming news: the formerly primitive people of that nearby planet have developed technology, and are now visiting their moon. Bethkahn takes one look at these lumbering, space-suited creatures, and immediately dismisses them as “Cavorting imbecile monsters!” The ship fears that, when the creatures find it, they’ll take it apart to see how it works, and Bethkahn will be stranded in this primitive system forever. The pair watch for developments.

The story then switches to seventeen-year-old Gareth Johns from Aberdare (yes, that blue planet was Earth all along), co-winner of a World Educational Council essay-writing competition, for which he’s won a month-long visit to the US moonbase. His essay, titled “The Lunacy Syndrome” is about how there are dwindling congregations of church-goers on Earth, but “go to the Moon and you come back converted”. The Moon, he thinks, is “where science and religion finally meet”: “God is alive and well and living on the Moon.”

The other prize-winner is Californian Karen Angers, whose essay is on how the Moon has always been characterised, poetically and mythically, as female: Phoebe, Diana, and the White Goddess. Reading it, Gareth is unprepared for what he considers the “loud-mouthed and gawky” young woman who wrote it, who gets things off between them to a bad start by, first of all, referring to him as English—he’s the “first Welshman on the Moon”, after all!—and by constantly calling him Gary. But underlying this clash are differences of class (Gareth’s home town is poor, and he feels little hope about his own future, or that of the world, whereas Karen’s parents are obviously well-off), and of temperament. Gareth has come to the base expecting to “feel the Moon’s almighty desolation and catch the wonder”; sunny Karen seems to have just come to photograph everything, and Gareth feels she’s turned what ought be an awesome and even spiritual experience into a tourist trip.

Bethkahn, meanwhile, realises she has a chance of escape. If she can sneak into the moonbase, she can use their tools to fix her ship’s broken stabiliser and take off. But how to enter the base without being detected? She does have, it turns out, a means of doing so. Because Bethkahn, and the rest of her people, are non-corporeal; they are “spirit”, not flesh. But in order to do the work on the stabiliser she’s going to need to use a physical body, somehow, and the easiest way seems to be “spiritual possession”: she will enter a person’s body, take it over for a while, get the work done and leave. But her first attempt ends in disaster. She tries to enter a lunar buggy to possess the driver, but because the driver, lazily, left the internal airlock door open, all she succeeds in doing is killing him. Her next, more careful, attempt drives her intended possessee mad. She realises she needs, not a body to use, but an ally. And there’s only one person this can be: Gareth, who has discovered one of her ship’s spy modules but has kept quiet about it. He, she realises, might be someone she can trust. (And he already has a hint she exists. Just before the disaster with the moon buggy, he and some others saw a cloud of moon dust, driven by what, despite there being no atmosphere, seemed like a wind—a moonwind—and inside it, he thought he saw a young woman.)

I’m sure the more hard-SF type of reader will already have noticed what appears to be a massive logical hole in this set-up. Bethkahn is non-corporeal, yet she had to open the moon buggy’s door to get in, which is why the driver was killed. It turns out she always has to open a door to get into anywhere. It also turns out she can carry physical objects—the damaged stabiliser is one such object—even though it seems she can’t handle the tools she’d need to use to fix it. (This despite being an engineer on a spaceship that surely at some point needs tools to fix its other components. And why does she need a physical spaceship at all if she’s non-corporeal?) In one scene, Gareth hands her a plastic bag containing the spy module he discovered, and she walks off with it; but when Gareth tries to touch her, his hand goes right through. Bethkahn’s non-corporeality, it seems, is there to first of all create a plot difficulty (how to fix the stabiliser), and secondly to underline the core theme of the book: loneliness.

Bethkahn has spent ten thousand years on the moon, and though she has her ship’s computer for company, “It was not enough that the starship cared for her. She needed a person… a voice, a smile, another living being beside herself.” Gareth, meanwhile, has already been warned that one of the main perils of this harsh environment isn’t its lack of atmosphere, but that “Solitude can be dangerous on the Moon”, because “here on the Moon was a loneliness that terrified, a monstrous isolation.” When he comes to know Bethkahn, he immediately grasps the poetic meaning of her nature:

“She’s non-corporeal, see? A ghost… stranded here… wandering. My God, there’s loneliness for you.”

Gareth is equally lonely, in a way. He’s hopeless about his life at home (“a decaying industrial nation, closed-down coal mines and acid rain and small chance of getting employment”), and doesn’t fit in with the mostly cheery Americans on the base. When Karen suggests he come to Santa Barbara where her dad can help get him a job, he bursts out:

“There’s nothing anywhere! No reason! No purpose! … There’s no memory on Earth. Here’s where the meaning began. Here! I want to go on, not back…”

Bethkahn, though, offers him an alternative: leave with her. Only, to do so, he has to become, like her, non-corporeal, which in human terms means dying. Moonwind is, at times, a stark narrative, about not just loneliness, but the way loneliness only increases the difficulties between people. Bethkahn’s inexperience in dealing with physical humans leads to one death and one madness; Gareth, on the other hand, is always getting in trouble with Karen and the other people on the base thanks to his oscillating between a spiky resentment of their generally happy dispositions, and his own rather disruptive sense of humour. In her essay on the moon goddess, Karen wrote that “loneliness makes her cruel”, and that certainly seems the unintentional effect of both Bethkahn’s and Gareth’s isolation.

As with Lawrence’s Star Lord, the alien in Moonwind is a more advanced, more spiritual being, but one with a slight coldness to it. The closer parallel, though, is with Earth Witch, which is also about a troubled Welsh lad getting into a relationship with a woman who’s part human, part mythical entity. In all three, Lawrence takes her stories as close to tragedy as she can with a Young Adult audience, while leaving a little space at the end for something like a positive ending.

Moonwind was adapted for TV, though in mini-format. It was shown as part of ITV’s Book Tower magazine programme, in eight episodes from 8th January 1987 to 19th February (4:50p.m. on Thursdays). The Book Tower was itself only a half-hour (minus adverts) programme featuring book reviews and story readings as well as its drama serial, but even if each episode of the adaptation was only 10 minutes long, that could still make for a short feature-length film in total, which would be interesting to see. The only thing I’ve been able to find, though, is one picture of some of the cast: