By TOPIC Award Winning Books African American Children's Books Biography & Autobiography Diversity & Inclusion Foreign Language & Bilingual Books Hispanic & Latino Children's Books Holidays & Celebrations Holocaust Books Juvenile Nonfiction New York Times Bestsellers Professional Development Reference Books Test Prep. By GRADE Elementary School Middle School High Schoolīy AGE Board Books (newborn to age 3) Early Childhood Readers (ages 4-8) Children's Picture Books (ages 3-8) Juvenile Fiction (ages 8-12) Young Adult Fiction (ages 12+). BESTSELLERS in EDUCATION Shop All Education Books. This, the first book of a trilogy, is a dark vision, inspired by Geoffrey of Monmouth’s account of disunity and treachery among the British leaders, and it maintains powerful tension throughout as it exposes the suffering of those affected by their cruelty and shortsightedness. Indeed, she helps him more than he does her. Trystan, when he does appear, spends most of his time in a prison cell, leaving Isolde to struggle desperately for survival, not only for herself but for all Britain as well, in the fortress of Tintagel and on the wild moor to which she flees. She desperately needs a protector, but this is no medieval romance. Surrounded by enemies, she is forced to marry the vicious Marche, King of Cornwall, who predictably mistreats her. It is Isolde’s misfortune to have lost her male protectors at a time when women badly need them, and to make matters worse she is mistrusted by almost everyone, for is she not the daughter of Modred, Arthur’s son by incest with his half sister Morgan? And of Gwynefar, who betrayed her husband? And did not her father’s rebellion lead to the disaster at Camlann? And is she not a healer like her grandmother, a reputed sorceress? She was wed to Constantine, Arthur’s heir, but now he lies dead, and the rulers of Britain, gathered to choose a successor, view her with suspicion, if not outright hostility. To a large extent this is because she sets her version of the story of Trystan (as she calls him here) and Isolde in a brutal Dark Age (6th-century) Britain. Anna Elliott places Isolde among the latter. 
In Arthurian fiction, queens tend to fall into two groups: the powerful and the powerless.
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