AMY JEFFS - BRISTOL v2.qxp_Layout 2 22/10/2021 17:24 Page 3
BOOKS
The stories of old In her debut novel, Amy Jeffs reimagines the myths of Britain that once served a more profound purpose in ancient cultures. Millie Bruce-Watt escapes through the mists of time to discover a world steeped in magic and mystery
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my Jeffs’ debut novel, Storyland, has captivated the hearts of readers across the nation. Steeped in magic and mystery and grounded in meticulous research in manuscripts and our ancient landscape, Amy’s mythical world is movingly articulated. Set between the Creation and Noah’s Flood and embellished with a series of linocut illustrations, Storyland reimagines the myths of Britain through a modern lens. Remembering legends including Bladud of Bath, Merlin in Stonehenge and Joseph of Arimathea in Glastonbury, Amy pays close attention to the weight these characters once carried in our societies; how they still speak to the modern world; and through themes of belonging and homeland, how compellingly consistent we are as human beings in our fundamental desires. As I sat down with the author, printmaker and art historian this month, it was a delight to slip away through the mists of time. Having studied Anglo-Saxon, Norse and Celtic at Cambridge University, before completing an MA at the Courtauld Institute of Art and gaining a PhD in Art History from Corpus Christi College, Amy has a wealth of knowledge in medieval art and literature; one that she is effortlessly able to access when reciting lines at length. “It was as I was studying Britain’s medieval origin myth, the Brut, and completing my thesis for my phD that I came across so many things that made my heart leap,” Amy tells me. “They weren’t necessarily of deep academic interest but I felt that not enough people appreciated the hilarity and drama and beauty of these origin myths of Britain.” As we visit every corner of the nation from Orkney to Cornwall, from Snowdon to Stonehenge, Amy creatively peers through the eyes of characters who only ever played supporting roles, allowing us as
readers to appreciate the stories from a different perspective. In a commentary that follows each retelling, Amy expands on the historical references and hidden meanings buried within the original source materials – a fascinating and much-welcomed addition to the novel. “Many of these stories were really dominant in Britain until the mid-16th century when we would see more modern techniques of historical inquiry take over and tales of goddesses and giants fall by the wayside slightly, but some of these stories were taken so seriously that they really did inform political decision making. “I think when we forget the histories we once believed, we can’t appreciate the motivations that led to events and decisions that had a real material impact on the future. Just because we no longer believe in giants doesn’t mean we should dismiss them as whimsy.”
Where it began Storyland is adorned with intricate linocut artwork, created by Amy herself, who only took up the art form in recent years. Under the guidance of Chris Pig of The Black Pig Printmaking Studio in Frome – and inspired by the manuscripts that she was living and breathing at the time of her PhD – Amy started to create illustrations for each story. From there, Storyland grew into a novel. “A desire to share the stories and get people excited about them was the beginning of it all. I was fascinated by how the illustrations in the Brut legend followed the narrative action but they were very concise illustrations and communicated so many elements of an episode so efficiently. I really enjoyed that challenge of persuading people through pictures that these were stories to pay attention to and to enjoy.”
A linocut illustration by Amy Jeffs depicting the ancient story that saw Merlin, the wizard of Arthurian legend, create Stonehenge. From the chapter titled Stonehenge 30 THE BRISTOL MAGAZINE
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NOVEMBER 2021
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NO¯ 204
