Simon, Jane, and Barney, enlisted by their mysterious great-uncle, arrive in a small coastal town to recover a priceless golden grail stolen by the forces of evil -- Dark. They are not at first aware of the strange powers of another boy brought to help, Will Stanton -- nor of the sinister significance of the Greenwitch, an image of leaves and branches that for centuries has been cast into the sea for good luck in fishing and harvest. Their search for the grail sets into motion a series of distubing, sometimes dangerous events that, at their climax, bring forth a gift that, for a time at least, will keep the Dark from rising.
On his 11th birthday, Will Stanton discovers that he is the last of the Old Ones, destined to seek the six magical Signs of Light that will enable the Old Ones to triumph over the evil forces of the Dark. This Newbery Honor Book is the first title of Cooper's Dark Is Rising sequence.
This is the fifth and last book in "The Dark Is Rising" sequence. The Dark is rising in its last and greatest bid to control the world. The servants of the light: Will Stanton, the last of the Old Ones, the mysterious Professor Merriman, and the strange albino Welsh boy, Bran, are helped by three ordinary children in this last desperate battle.
This book provides a new critical methodology for the study of landscapes in children's literature. Treating landscape as the integration of unchanging and irreducible physical elements, or topoi, Carroll identifies and analyses four kinds of space — sacred spaces, green spaces, roadways, and lapsed spaces — that are the component elements of the physical environments of canonical British children’s fantasy. Using Susan Cooper's The Dark Is Rising Sequence as the test-case for this methodology, the book traces the development of the physical features and symbolic functions of landscape topoi from their earliest inception in medieval vernacular texts through to contemporary children's literature. The identification and analysis of landscape topoi synthesizes recent theories about interstitial space together with earlier morphological and topoanalytical studies, enabling the study of fictional landscapes in terms of their physical characteristics as well as in terms of their relationship with contemporary texts and historical precedents. Ultimately, by providing topoanalytical studies of other children’s texts, Carroll proposes topoanalysis as a rich critical method for the study and understanding of children’s literature and indicates how the findings of this approach may be expanded upon. In offering both transferable methodologies and detailed case-studies, this book outlines a new approach to literary landscapes as geographical places within socio-historical contexts.