Five teenagers set out into the unknown to change the legend of Camelot. Instead they find they are rewriting their own lives and destinyIs Lev still in Camelot - or did he die in the fire at the Tower? Can El survive the plague? And can Callie undo a death - or will she cause another? Will Guinevere achieve her desire to have a child, an heir to the kingdom - or will Callie succeed in her quest to win Lancelot and so save Camelot? In Shalott: Dangerous Magic, the Old Ways clash with the beliefs of the newly Christian court, while Morgan weaves her deadly magic to ensure that the teenagers are caught in the crossfire.‘In this extraordinary trilogy Felicity Pulman shows both her understanding of the Arthurian legend, of the Shalott story, and a rich and imaginative capacity to expand and explore its deep meanings for today’s teenagers. This is an unsettling, unusual, intriguing and moving series, rich in character, action and mystery, full of the atmosphere of Arthurian legend, yet without falling into the trap of mere retelling.’ — Sophie Masson
Five teenagers set out into the unknown to change the legend of Camelot. Instead they find they are rewriting their own lives and destinyIs Lev still in Camelot - or did he die in the fire at the Tower? Can El survive the plague? And can Callie undo a death - or will she cause another? Will Guinevere achieve her desire to have a child, an heir to the kingdom - or will Callie succeed in her quest to win Lancelot and so save Camelot? In Shalott: Dangerous Magic, the Old Ways clash with the beliefs of the newly Christian court, while Morgan weaves her deadly magic to ensure that the teenagers are caught in the crossfire.‘In this extraordinary trilogy Felicity Pulman shows both her understanding of the Arthurian legend, of the Shalott story, and a rich and imaginative capacity to expand and explore its deep meanings for today’s teenagers. This is an unsettling, unusual, intriguing and moving series, rich in character, action and mystery, full of the atmosphere of Arthurian legend, yet without falling into the trap of mere retelling.’ — Sophie Masson
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