63 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of bullying, ableism, animal cruelty, graphic violence, mental illness, illness, and death.
On a frigid day in February, 793, an 11-year-old boy named Jack goes about his morning routine with his father Giles, his mother, and his five-year-old sister, Lucy. Despite his wife’s protests about giving their daughter fanciful ideas, Giles tells Lucy that she was a lost princess who was abducted by trolls before he found her “lying under a rose tree with a gold coin in [her] hand” (2). When Giles was a child, he developed a limb difference after an accident, and he went to the Holy Isle in the hope that the monks there could help him. However, they were unable to, and his dreams of becoming a priest were dashed because his family was too poor to pay the abbey’s fee.
Two years ago, a Druid known as the Bard sailed to Jack’s village in a coracle and moved into a deserted ancient Roman house on a cliff near the sea. The local families take turns bringing the elderly man food, and they believe he possesses magical powers, such as shapeshifting and the ability to speak with animals. When Jack delivers food to the Bard that morning, the old man tells him that six ewes have given birth. The Bard invites the boy to have lunch with him after he finishes his chores, and Jack is astonished that the man would take an interest in him because he feels that there is “nothing special” about him compared to the stronger or better-educated village boys. Jack completes the exhausting and filthy task of bringing the six lambs to the barn, but his father barks orders at him instead of commending his efforts.
Over lunch, the Bard asks Jack to become his apprentice because he’s more perceptive than the other village children. The man discusses his proposal with the boy’s parents that night. Jack’s mother wants him to have an education, but his father protests that he needs the boy to work on the farm, and “there’s no proof he’s bright” (12). The Bard expresses his faith in Jack and reveals that he’s already arranged for the other village boys to help Giles with the farm. Giles reluctantly agrees to the arrangement. The old man assures the boy’s mother that Jack can visit home on Sundays.
The following morning, Jack gathers his few worldly belongings and tells his family goodbye. His departure saddens Lucy, but Giles distracts her by describing the sweets the monks make on the Holy Isle. As the Bard’s apprentice, Jack does chores like preparing the man’s meals, gathering wood, and hauling water. He also has the auspicious task of carrying the Bard’s harp when he visits the villagers’ homes to tell stories. At the man’s instruction, the boy spends much of his days outdoors observing nature. As the weeks pass, Jack gains a greater understanding of animals’ behavior, and the Bard begins to teach him songs.
One night, the Bard has a night terror about a troll and accidentally strikes Jack with magic. As soon as Jack recovers enough to speak, he asks the Bard to teach him magic, and his mentor is impressed with the boy’s curiosity and tenacity.
The next morning, the Bard explains that most of the trolls, or Jotuns, he’s known are benevolent, but half-trolls are malevolent shapeshifters. A half-troll rode the Nightmare that attacked him. Sensing an evil force across the sea, the old man says, “She is hunting for me, and if she has found out where I am, her servants may already be on the way” (23). He tells the alarmed boy that he won’t flee because that would mean abandoning the villagers to the Jotuns’ wrath. The Bard sends Jack home and spends the next three days in the forest.
When Jack returns home, he is deeply moved by a newfound appreciation for the farm’s beauty, his family, and his father’s determination. He cries when he thinks about the danger the village is in, but he distracts himself from his negative thoughts because the Bard warned him that Jotuns can detect fear.
Three days later, Jack returns to the Bard. The old man reports that a group of Northmen ruled by Ivar the Boneless and his half-troll queen, Frith, is preparing to launch an invasion. When the Bard reveals that Queen Frith is the one who attacked him in the Nightmare, the boy faints.
When he awakens, the Bard explains that some of his own life force flowed into Jack when he struck him with magic. This has rapidly increased his apprentice’s powers of perception as well as his emotional sensitivity. Almost all living things are drawn to the subterranean streams of life force that flow through the world, but humans deliberately cut themselves off from the life force long ago.
Jack’s new connection with nature leaves him dazed, but physical exertion helps to clear his head. The Bard tells Jack that he and his best friend trained to be bards together in Ireland, but his friend took in too much of the life force, had a mental health crisis, and joined others like him in the “Valley of Lunatics.” The Bard is determined to prevent his apprentice from meeting the same fate.
The narrative moves forward in time. During the fall, the Bard teaches Jack how to perform small acts of magic, such as summoning mist and birds. In the winter, he instructs his apprentice in playing the harp and conjuring fire. The Bard warns Jack that working magic is especially perilous in the winter because the Jotuns “lie in wait for the careless” (40). He urges the boy to persevere through the drowsiness and nausea he experiences when he touches the life force. When he finally manages to start a fire, Jack is filled with a fierce, proud exaltation and sets the house’s thatched roof ablaze. The Bard douses the fire and casts a spell of protection over the boy. He urges, “You must respect the limits of your power. You can cause a great deal of harm if you don’t” (42).
The Bard tells Jack the story of how he met Ivar the Boneless. Shortly after he graduated from the College of Bards, a Northman invited him to the hall of King Hrothgar. The structure’s magnificence and the merrymaking of Hrothgar’s people angered a monster named Grendel, who killed and devoured many warriors before the mighty Beowulf slew him. Grendel’s mother, a half-troll named Frothi, retaliated by killing Hrothgar’s best friend.
The Bard continues his tale. Beowulf journeyed to the swamp where Frothi lived. Using his magic, the Bard allowed the warrior to breathe underwater. When the hero didn’t return for hours, Hrothgar and his retinue believed that he had perished and returned to the hall to mourn him. The Bard sent his spirit into a fish and swam to the bottom of the swamp, where he found Beowulf dumbstruck by the half-troll’s beautiful human form. The Bard bit Frothi, causing her to revert to her troll form, and Beowulf slew her after a fierce battle.
About three years ago, the poem the Bard composed about these events reached Jotunheim. Frothi’s sister, Frith, sent a dragon to kill Beowulf and seduced the Bard’s employer at the time, Ivar the Boneless. Her influence changed the king from a “pea-brained bully” to a “half-mad tyrant” (52), but he spared the Bard’s life by sending him away in a coracle.
On a bright March day, Jack reflects on the fact that he has been the Bard’s apprentice for over a year. He discovers a box carved with an image of a wolf-headed man floating in the sea and brings it to his mentor. The Bard explains that the box belongs to a group of berserkers, bloodthirsty warriors who think they have the power to turn into animals like wolves and bears. He sends Jack to warn the villagers.
In the novel’s first section, Jack begins his transformative heroic journey. The hero’s journey, also known as the monomyth, is a plot structure that is found in storytelling traditions all over the world and was theorized by mythology scholar Joseph Campbell in The Hero With a Thousand Faces (1949). The first step of the hero’s journey, “The Ordinary World,” introduces the protagonist and their home. In The Sea of Trolls, Farmer depicts life in eighth-century England through immersive historical details about the characters’ diets, the structure of their homes, and their agricultural techniques. Because this is a historical fantasy novel, Farmer also establishes the existence of supernatural creatures like trolls and dragons, hinting at their prominence later in the story.
The Bard’s decision to make Jack his apprentice is the inciting incident and advances his heroic journey. In Farmer’s novel, the steps of “The Call to Adventure” and “Meeting the Mentor” are concurrent because the Bard both recognizes the protagonist’s potential and plucks him from his ordinary existence as a farm laborer. Jack fits the unlikely hero trope, and the Bard explains his decision to pick the 11-year-old by observing that “[v]ery few people see beyond the ends of their noses” (12). Farmer’s characterization of Jack as someone who’s notable for his powers of perception rather than great physical strength or social importance serves her exploration of Compassion as the True Measure of Heroism. As indicated by the great importance the Bard places on Jack’s daily outings in nature, empathy and understanding begin with awareness and observation. Farmer uses Jack’s shifting attitude toward his father to illustrate the protagonist’s growth and advance the theme of compassion. In the first chapter, the boy bristles at his father’s orders and complaints, but his tutelage under the Bard makes him realize that “[w]hat mattered was how Father went on in spite of his unhappiness […] so that Mother, Lucy, and he could survive” (24). As the story goes on, Jack’s empathy continues to grow and extends to others he initially struggles to understand.
The diversity of worldviews within Jack’s small community introduces The Power of Belief. Most of the villagers are Christian, but the Bard’s Druidic background and frequent references to the Norse pantheon remind the protagonist that there is more than one way to make sense of the universe. In addition, Jack demonstrates a capacity for independent thought by inwardly questioning his father’s beliefs: “Wouldn’t it make sense, after a thousand years or so, for God to say, All right, that’s enough. You can come back to Eden?” (5). Jack’s willingness to chart his own course rather than adhere to others’ beliefs proves vital later in the novel. The theme of belief also encompasses the personal narratives that other people in the novel tell themselves to find comfort and meaning in life. For example, Giles alleviates the pain and drudgery of his existence as a subsistence farmer and brings Lucy joy by claiming that she is a lost princess. The young girl’s belief that “a troop of knights” has “been searching for [her] ever since the trolls carried [her] off” when she was an infant exerts a major influence on the next section’s events (3).
Farmer’s allusions to the epic poem Beowulf explore the concept of heroism and provide insight into her original characters. The Bard’s retelling of the famous poem critiques how traditional ideas of heroism often valorize violence and disregard life. For example, the Bard responds with caution rather than praise when Beowulf proclaims, “This battle will win me fame or death” (49).
In addition to illustrating the Bard’s resourcefulness and opposition to violence, the allusions to the epic poem establish the reason for the chief antagonist’s thirst for vengeance. A key setting in the poem, Hrothgar’s hall, emerges as a motif of The Relentless Struggle for Survival: “The golden hall was too beautiful, and so, like all bright things, it attracted destruction” (44). As the story continues, the image of the besieged hall is invoked to explain other disasters, particularly Viking raids on Saxon territory, like the one looming at the end of this section. Farmer raises the story’s suspense with the cliffhanger ending of the berserkers’ arrival in England, an event that signals that Jack’s life is about to undergo a dramatic change.



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