- Visualizing Camelot: An Introduction
- Visualizing Camelot in Everyday Life
- Visualizing Camelot at the Movies
- Visualizing Camelot in Popular Culture
- Visualizing Camelot: Major Authors
- Illustrated Malory Editions
- Ashendene Press Malory and "The Barge to Avalon"
- Retellings of Malory
- Illustrated Tennyson Editions
- Tennyson's Influence on Popular Art and Culture
- Tennyson, Watts, and the Strength of Ten
- Art Based on Malory and Tennyson
- Illustrating Mark Twain's A Connecticut Yankee in King Arthur's Court
- Reworking Twain's Connecticut Yankee
- T. H. White
- Sir Gawain and the Green Knight
- Children's Books
- Visualizing Camelot through Iconic Images
- Women Illustrators
- Credits and Acknowledgments
- 2024 Events and Programming for Visualizing Camelot
Retellings of Malory
A consequence of the Arthurian Revival in the nineteenth century was the publication of numerous retellings of the Arthurian stories, most of them directed at boys. In his 1817 edition of Malory’s Morte, British Poet Laureate Robert Southey wrote that, were the Morte to be modernized and “published as a book for boys, it could hardly fail of regaining its popularity.” A number of writers responded to Southey’s call, first among them James T. Knowles, who reworked the tales in his The Story of King Arthur and His Knights of the Round Table (1862), which retold Malory with inspiration from Tennyson, to whom the book was dedicated.
The popularity of Knowles’ book and the demand created by youth groups for versions of Arthurian stories led, in turn, to other popular retellings, such as Sidney Lanier’s The Boy’s King Arthur. First published in 1880 with illustrations by Alfred Kappes, it was reprinted in 1917 with color illustrations by N. C. Wyeth—a version that is still in print and widely read today. Novelist Walker Percy recalled being influenced in the writing of his Lancelot (1977) by Wyeth’s “great picture of Lancelot and Turquine.”
Wyeth’s mentor Howard Pyle, now considered “The Father of American Illustration,” wrote and illustrated four books retelling the tales of Camelot; these too are still printed and read. And while Arthurian tales are often thought of as stories for boys, The Girl’s King Arthur (2010) by Barbara Tepa Lupack counters this notion with the very title of her book, which retells the stories from female perspectives.
Walker Percy. Letter to Alan Lupack, dated February 14, 1987, in which Percy, author of the novel Lancelot, explains how deeply he was influenced by Wyeth’s “great picture of Lancelot and Turquine” in The Boy’s King Arthur.