(The following is a guest blog by the mysterious Bustles Lloyd, whose genre-spanning novel is inspired by a frightening face that every one of us recognizes at our most primal core. Greenwood Tree is slated to publish with the U.K.-based Grey Cells Press.)
The next time you visit a cathedral, crane your head up to look at the ceiling, where the building’s arches lurk in shadow. What else do you see? You might need binoculars—but the older the cathedral, the more likely you are to find, nestling atop corbels and capitals, a singular face with leaves and branches climbing out of its mouth. Sometimes fierce, sometimes cheerful, mostly a trifle wild … this often-sculpted entity has been with us far longer than the cathedrals, and long before the Normans who built them, with a name that has regained resonance only recently: the Green Man.Theories abound concerning the Green Man’s origins, both etymological and geographical; he turns up in a variety of guises, from Rome (Bacchus and Dionysius) to Mesopotamia and Egypt (green-faced Osiris); he is Jack in the Green, Cernunnos, Pan, Silvanus, he can be found in Sumerian, Hindu and Aztec cultures—he exists everywhere, a source of life and natural force . Occasionally neglected, his image has survived in nooks and crannies, a constant reminder of man’s reliance on his natural environment and of man’s constant struggle with the elements. Another of his many names is Robin—but is he Robin Goodfellow, the mischievous imp—or Robin Hood, woodlander and defender of the poor? Apparently both and more: a guardian, a powerful god, an impish spirit, a playful invoker of spring and sprouting seedlings; at once venerated and feared: for crops can fail if you cause him displeasure … the corn dollies and harvest festivals are vestiges of something more than a ritual—they entreat the return of sun after winter, of growth after hibernation, they are offerings of supplication and penitence brought by children to their volatile father.
How has he fared with time, this father, this god of fertility and vitality? I mentioned he has gone through periods of comparative neglect, as when the Industrial Revolution stampeded across the countryside, bringing steam, iron roads and coal, blinding the people with its smoke, weakening his memory and perhaps also his strength and, yet, something has struggled through, some collective memory perhaps, clinging onto the notion of one protective entity that will defend the very source of our food and means of survival. It is this protective aspect and this comparative neglect that I have focused on in my mystery novel, Greenwood Tree. Here, the presence of the Green Man is hovering on the outer edges of dreams, occasionally manifesting himself (in more than one form) to warn and defend, his strength weakened by the frail memory of humanity. In addition, the Green Man acts as the main linking figure in a multi-genre mystery, where detection meets mythology, in that foreign country called the past. In my mystery he has retreated and his home is under threat, perhaps an indirect comment on his rather tenuous place in the cultural and social upheaval of the 1920s. I also tend to think of him as one of many Green Men, for to my mind there is something in the Ancient Greek idea that every tree contained its Dryad, every river and stream its Naiad : together unstoppable—but individually, vulnerable. In a similar way, the countryside from the time of the railway has been under constant, if gradual, threat, mirrored by England’s own very uncertain, susceptible condition in the aftermath of World War One. When Nature is attacked, however, she has a way of fighting back, sometimes in unexpected ways.
The Green Man, in my treatment of him, thus becomes a metaphor for this vulnerable, while green and pleasant land. Disturb him at your peril.