In the mid-Eighties I added a couple of Parke Godwin novels to my shelf, Firelord and the Last Rainbow. I recall being impressed by the stories and the literary style. So when I happened across a copy of Mr. Godwin’s Sherwood for $.99 I did not hesitate to purchase it. It seemed good value for 529 pages.
As the title (not to mention that cover art) indicate, this is a retelling of the Robin Hood legend. Godwin does something interesting with it, setting it over a century back from the usual King Richard the Lionheart crusader era. In placing the story primarily in the years following the Battle of Hastings, Godwin reinforces Robin’s character as a freedom fighter, rather than as a romantic bandit figure, having him serve as a focus of Saxon resistance to the Norman invader. It works quite well. Many of the traditional cast of characters show up, though generally in unexpected fashion and with different story arcs and fates. Don’t expect Howard Pyle with the serial number filed off.
To some extent, this is a work of mainstream historical fiction. Though most of the players are legendary or invented, William the Conqueror and his queen, Matilda, are major characters. There are hints of fantasy: the Second Sight and a sort of blood and soil marriage ceremony between Robin and Marian. But these are contextualized as cultural beliefs and never manifest as concrete reality within the narrative. There are also some excellent action sequences, well-drawn battles, skirmishes, and personal combat. This is not, however, a work of Heroic Fiction, instead, as I indicated, in the main a historical novel. So great care is lavished on period detail and the characterization is deep. Therein lies some of both the book’s strengths and weaknesses. Each character is given his due in full. The villains are not mustache-twirlers, instead described as cultural exemplars, acting according to what is perceived as right and proper. Internal viewpoints are given full expression. This all works beautifully for a historical novel, but for those wanting to get on to Robin’s next act of derring-do, some scenes might drag on. I suppose your appreciation will depend upon what you are in the mood for.
The last act came as rather a pleasant surprise; expertly, if deviously, built toward and perfectly realized, fitting in with the characters as established and realistically transformed. Moreover, it fit within the larger theme Godwin was developing of the forced interaction between two societies: the Saxon individuality and deep reliance upon belief in ancient rights and duties contrasting with the Norman hierarchical culture and feudal view that every man must have a master else life is meaningless. Robin’s decisions are unexpected, and yet are shown as reasonable and foresighted. Or, you can just ignore the thematic context and go along for the bloody battle scenes. Either works.
If you’d like some more bloody battle scenes, pick up my Falchion’sCompany trilogy, available in print, digital, and audio formats.