EVIL NEVER DIES IT ALWAYS SNEAKS BACK WHEN MANKIND LEAST EXPECTS IT WICKEDNESS SUBTLY MODIFIES ITS FORM, CHANGES NAMES AND SOLIDIFIES IN AN ENTIRELY DIFFERENT PLACE: BUT MALEVOLENCE CAN NEVER BE ENTIRELY ERADICATED. EVIL CAN NEVER BE WHIPPED AWAY IT IS PART OF THE HUMAN PSYCHE: PART OF THE HUMAN MIND THAT, AFTER EVERY HOLLOW VICTORY, SIMPLY EVAPORATES FROM SIGHT BEFORE EVENTUALLY RETURNING TO PLAGUE MANKIND- BUT ONLY AFTER BEING TRANSFORMED INTO SOMETHING A HUNDRED TIMES MORE SINISTER. BECOMING A MARTYR NEVER PROVES AN INDIVIDUAL’S MATURITY OR METTLE. IT’S BEING PREPARED TO SACRIFICE OUR ALL AND EVERYTHING. WHAT WE LOVE OR CHERISH ULTIMATELY DETERMINES AND EVENTUALLY REVEALS A PERSON’S TRUE CHARACTER. WHAT WE ARE PREPARED TO BELIEVE – TO LIVE FOR – STAND FOR IN THE FACE OF DEATH EVERY LONELY DAY OF LIFE, THOSE ARE THE ONLY THINGS IN THIS WORLD EVER REALLY WORTH DYING FOR EDICTS EMBODIED BY WHAT WE HOLD AND SEE: THE MIRROR AND THE SWAN
Usurpers of the throne of Wessex feared neither fury from Heaven nor the justice of men. When no avenging angel descended from the firmament or hero arose from amongst the citizenry to confront the growing labyrinth of despair, the very earth of Englands ancient graves rent open and issued forth a ghostly champion of their own. Without mercy or compassion, its spectral hooves clattered through the cobbled Gates of Death that flanked the blazing backdrop of Hell and galloped through the blackened night to ruthlessly confront the Kings intolerable inhumanity. As it had since time immemorial, Britains otherworldly sentinel let slip an unbridled rage mere men could never hope to dampen a savage, barbaric indignation that relentlessly trampled brutish humanity beneath its chiselled, avenging hooves.
In this time of Harry Potter mania and its associated popular magic of surface spells and incantations, it is refreshing to encounter an author with so vivid a command of the language. Indeed, the language is infused with vibrant images and metaphors that portray the people and the land in fine, lyrical writing. In a style that draws from the full, rich well of old language, the author conveys the reader into a world that appears to be, at first glance, more impressionistic than real. Wales, in all of its glory, rises in the readers imagination while capturing the heart and soul of the country. And yet, the themes and struggles are contemporary with this 21st Millennium, harking to the consciousness of all humankind. The reader stops to ponder, and then begins to remember that these enduring images come from the human soul, not constrained by any epoch or era. These works come from an author who is providing an outstanding recognition of the United Kingdom and its life, history, and people. Literature is the vehicle, far beyond the transitory cinema of contemporary life, which provides depth for his audience. Dr. Baker challenges the reader to understand these tales for their immediate pleasures as well as for their deeper meanings. In this, he accomplishes the best that his art can and should do to mirror the human condition. - Daniel Paul Larson, D.M.A. Vice-President for Instruction MVCC/State University of New York BRILLIANT! A Bloody Good Read!! Douglas Neal, MRCVS W. B. Bakers novels may well be among the finest examples of representative literature of the region. From a nation renown for dramatic warrior poets comes this authors third novel of Carmarthen, a stunning combination of narrative melded with the extraordinarily vivid imagery we have come to expect from this award-winning writer. Ordeal Of The Dragon resumes the tale of Myrddin Emrys (Merlin) as a child in Wales, integrating exceptionally strong characters with a remarkable knowledge of superstition, myth, and religion to create a fantastic realm of murder, vengeance, and personal redemption. A beautifully crafted and equally majestic effort. Teresa McAlister, Knight Ridder Eloquent, Powerful, and Articulate - New York The haunting tale of a young boy and his love for a dog within which are couched the secrets of the universe. Once again, W. B. Baker reveals the wonders of Carmarthen and the whole of Britain to the World. Priory Road, Carmarthen - Carmarthenshire, Wales Ordeal Of The Dragon, like The Orphans Of Carmarthen and Vault Of The Griffin before it, transcends the delicate boundaries of religious and historical perceptions, compelling readers to consider and take stock of their personal interpretations of reality. A stunning philosophical success and ideological examination, where inspirational axioms are subtly imbedded within the vibrant images and metaphors of classic gothic themes. The superbly devised religion of the Banfith Priestesses is a triumph unto itself; revealing the authors meticulous attention to detail as much as Bakers facility for conceptual ideology. Correlations between astronomical observances, religious ceremonies, and classical Welsh mythology demonstrated in the extensive research necessary to conceive the Banfith religion does each of us Brits quite proud. Bloomsbury - London, England
Fantastic Gothic Images A remarkable accomplishment and body of work, displaying the magnificence and depravity of the being of man. Herein lies some of the most superb classical poetry produced within the last half century, a testament to the superlative skill, intuition, and brilliance of the author. Seldom will one find such high calibre writing, particularly from the ranks of contemporary writers. Reminiscent of the gothic imagery of Edgar Allen Poe, this poet entwines classical style and mythological references with truly inspirational sentiment and theology. In the epic poem, The Serpents Left Hand, one is truly horrified by the imagery of Hell, and yet, equally inspired by the sublime grandeur of Heaven. Concurrently, the lasting metaphors presented in The Siege at Caerphilly demonstrate the heights and depths of which the human spirit is capable. Obligatory reading for any individual who might truly understand the nature of man. - United Kingdom In a beautifully lyrical collection of verse, W. B. Baker explores an extensive diversity of literary motifs. The poet uses syntax and rhythm to powerful effect, conveying emotion through the musicality of language whose enduring imagery lingers in the mind long after reading. With masterful ease, each succeeding composition sweeps the reader into an exhilaration of ascending and descending emotional environments; from the indiscriminate carnage and utter futility of warfare in The Siege at Caerphilly, to passionate sentiments of love in Sonnets for Elisa, to a sinister, disturbingly vivid conception of Hell in The Serpents Left Hand. Particularly memorable are the scenes of slaughter and bloodshed, which perhaps support the Aristotelian perception that what is best in literature often springs from what is worst in life. Beautiful writing and moving sentiments, whose affecting and enduring images appeal to the most majestic and basest nature of us all. - New Millennium Publishing London, England Throughout this slender yet profound volume of verse, the author presents shimmering vignettes of heroic and mundane motifs, transmogrified by the lyrical language of bard and poet. Syntax and rhythm combine to convey impressionist harmony in a palate of emotions that range from indiscriminate war carnage to sentimental love sonnets, and from the vivid flashing of hell to sublime familial bonds. Enduring imagery undergirds each succeeding work as the authors skill and art speak to our emotions. In a style that draws from the full, rich well of old language, the poet conveys us into a world that appears, at first, to be but half remembered. The beauty of the writing and the depth of the emotion open a landscape that continues to uphold us even at the dawn of this new millennium. We stop, think, and indeed do fully remember that these enduring images come from the human soul. - Dr. Daniel P. Larson, Vice President MVCC/State University Of New York While each poem or component of prose contained within the volume considers a modified facet of the human experience, the author devotes particular emphasis to the expression of the readers realisation of truth rather than simply the poets interpretation of emotional or historical fact. A Solitary Frost is an eclectic compilation of two significant works, The Siege at Caerphilly and The Serpents Left Hand, along with several abbreviated selections of diverse character. The predominant motifs of human integrity, character, and personal morality are appraised in disparate treatments throughout the volume. The Siege at Caerphilly is based on an actual battle which occurred in 1316 between the English Marcher Lord, Gilbert de Claire, designated as the Lord of Glamorgan by the English monarchy, and the forc
1175. Christmas Day. Abergavenny Castle in Monmouthshire, Wales. William de Braose, Baron of Abergavenny, invited all Chieftains of the Welsh to feast with him at Christmas. Normans then locked the castle gates and slaughtered their guests where they stood. Knights thundered out of the castle, crossed the valleys, and murdered defenseless wives and children in their homes. Word quickly spread of the treachery. A few blamed the Sheriff of Herefordshire, some the Baron of Abergavenny; and still others, King Henry II of England. It was inevitable that, sooner or later, word would reach their sons and brothers fighting in the Second Crusade. Equally inevitable was the firestorm of retribution that swept down from the mountains to engulf the castle walls. Abergavennys baptism in blood had only just begun. . Britains Newfound Prince Of Exposition At long last, a novelist has arrived with the wit and aptitude to justly claim the throne of allegory left vacant for so long. Windsor, Berkshire, England Once or twice within ones lifetime an author comes along who actually manages to unfurl and advance the banner of genuine Literature: to reclaim the soul of Britain in the name of something far grander than simple prose. St. Ives, Cambridgeshire W. B. Bakers latest novel, The Lion and The Falcon, may quite simply be the finest compilation of poetry and prose that Britain has witnessed in the past half century. Kensington Road, London Not shoddy sentimentality but honest sentiment, this account set during the Second Crusade tells the heroic tale of men and women who may, through the savagery of conflict, abandon religion but never their faith: who might mislay their cause but, by no means, their conscience. Abergavenny, Monmouthshire Resplendent evidence that the glory of the British Empire continues to beat within our collective breast: a testament to the unrivalled majesty of the English language the world has, sadly, witnessed all too infrequently of late. Covent Garden, Westminster A Magnificent Re-emergence of English Literature For the 21st Century W. B. Baker has done more through his writing to promote Wales around the world than anyone in recent memory. Stunning imagery and the ability to convey the warmth of Welsh culture combine with historical accuracy to bring Wales its finest champion since Dylan Thomas. BBC Hall of Fame Southwest Wales The British People at Their Finest and Most Magnificent Shamelessly brutal in his examination of the human heart, W. B. Baker presents Britain a stunning masterpiece of fiction. The Ravenous is Bakers tour de force; the author using his considerable command of the English language to weave a majestic tale of valour and faith. Tottenham Court Road London, England A disturbing indictment of human frailty ... An even more glorius assertion of mans innate nobility Couched inconspicuously within this modern epic of Wales lie affirmations of the true majesty of humankind Within this moving tale, valiant men and women emerge from the mire of war to exemplify the inextinguishable courage of this nation we call home. Pwllypant Caerphilly, Wal
Inspiring and Utterly Brilliant Storytelling London, England "Eagerly awaited sequel to The Orphans of Carmarthen, Vault of the Griffin re-introduces the reader to fifth-century Britain. A fantastic descent into the bowels of the cavernous empire of the White Griffin, Bakers latest novel is a devastatingly candid and brilliant commentary on human nature. The pastoral countryside of Wales is painted in broad and exceptional vistas, the author skillfully employing language to exemplify the struggle between great concepts of ideology and theology, most capably illustrated against a backdrop of poverty and classical mythology. Once again, this internationally acclaimed writer validates his reputation as a master of literary exposition." Ruth Ryland  CORO Fellow 1991 - 1992 The second novel in the Carmarthen trilogy, Vault of the Griffin takes up again the exploits of Myrddin Emrys, stray child of the vale of Towy. Introduced in the first novel, The Orphans of Carmarthen, he, along with his dog, faces the challenges presented in post-Roman Wales. Confronted with a realm of superstition, dragons, and sorcery; the pair try to endure as best they can outside the influence of civilisation; where only an ancient Banfith witch takes any interest in their survival. "W. B. Baker surpasses himself with the creation of an entirely believable, functional religion of the Banfith Witches, demonstrating not only a masterful command of the English language, but revealing astounding insight into theoretical theology. Within the realm of conceptual mythology this writer is, conspicuously, one of the most intuitive authors of the genre." "Idyllic conceptual thinking; imparted in a beautiful tale of a boy and his little dog. Emotions envelop the reader completely and swathe ones consciousness with the realization that, on the odd occasion, grandeur and brilliance of sentiment lie far beyond our ability to express. Vault of the Griffin is one of those rare, exceptional examples." Lazaro Espinoza "As soon as the lad had submerged under the surface, he started crawling frantically through the fluff toward the fissure on the border, arriving there just as the weight of the griffin landed in the centre and tried to stomp the very life out of him. Emrys wriggled through the fissure at the edge, as the massive neck hurled its mighty weapon into the down; snapping blindly shut with the hope that the megalithic beast might yet catch the thief within its nest. By the time the griffin finished threshing the feathered pallet apart and raised its head a second time for a better look about, the lad had already scooted through the flaw in the nest and was halfway across the clearing. Running for his life, trying to dart about like a rat or vole amidst the cracked towers of crystal, Emrys made a frantic dash for the tiny fissure he had spied within the sandstone wall. Enraged, the behemoth leapt upon the rim of the crystal parapet and vaulted twice its entire body length in a single leap, snapping its savage beak closed upon feeble shards of crystal only inches from the boy. Emrys dove headfirst into the cavity just as the powerful serrated beak managed to clear the rock formation and snap shut; slicing through the crystal like a cleaver and just glancing off Emrys left leg. The boy screamed in agony as the zigzag edge of the bill caught the slackness of his skin, though he could not even hear his own shriek for the one emitted from the griffin as it realised that it had narrowly missed its prey." Vault of the Griffin is based upon the actual legends and ancient superstitions of Carmarthen, W
Doctrines boast of ancient creatures that abode with Deity - beings far more subtle than naïve humanity might even begin to comprehend. Entities far older still: that might well have been in attendance when the Firmament parted and Earth came to be - beasts that may well have ever stared knowingly into the abyss: ere mankind grasped its own mortality or pondered implications of the grave. Ghastly brutes: already ancient before timid humanity ever thought to rise up across the desecrated land – eternal sentinels of the Celestial that may just as easily divine the incomprehensible as deduce the inexplicable. Beyond the ken of humanity: they recognize and disregard the nameless horrors from forgotten pantheons of which all men and women still dare not speak. Mankind’s prayers might well have been answered eons ago: what with humanity never being perceptive enough to ever notice. Taking to our knees each night to beg for wisdom; when, unbeknownst to all, Wisdom eventually grew tired of waiting for humanity and simply chose to abandon us. Alone ... to forever wonder if we ever truly were the lords of our own creation. Oblivious, we paint ghoulish images with our pens: imprisoning the finest and frailest of human character within the confines of feeble words where each is exaltedly whisked to Eternity upon the brazen Wings of Lions.
Gigantic Hounds entombed within the castle wall were intended to protect the occupants from Evil. The residents could never know that Hounds from Hell might ever rise to vent an ancient fury. Within the glens of nearby Raglan Wood lurked a fanged and horrific vengeance. In a region where humankind had only recently dared to loose the latch and brave a glimpse inside, the unknown might well rule supreme. Tales of demons, portals to the underworld, and ghouls sired from the forest spirits themselves to thwart the hand of man regularly resonated around the lonely hearths of Monmouthshire and echoed down the dimly lighted passageways of the scattered, isolated manors. Only the foolhardy naively dismiss the unknown as harmless - only the ignorant dare assume the darkness lingering on light's periphery might ever remain entirely void of malevolence and malice. Enthusiastic admirers of author W. B. Baker would agree that not including this Cardiff University writer in any anthology of Welsh or British authors would be amiss. His novels exhibit extraordinary talent in not only creating breathtaking imagery and overwhelming historical accuracy, but repeatedly confirm a stunning ability to reveal Britain's collective integrity. Drawing attention to a rich and often overlooked history of Monmouthshire and Glamorgan, Baker has become a formidable advocate of Wales and of English literature. - Carol Daniels Kansas City, Missouri USA 'The Wraiths Of Raglan Wood is really rather brilliant - revealing once more the very finest from this particularly competent British writer. Yet again, this Award-Winning Author demonstrates expertise in creating evocative word pictures - along with the uncanny skill to portray the most heroic and loathsome qualities in us all. ́ - Brigitte Watkins Nottingham, England Britain has long been the home of fantastic tales and W. B. Baker once more shows his astonishing prowess as a writer with this, his latest novel. A thrilling and often spectacular combination of poetry and prose, The Wraiths Of Raglan Wood features explosive scenes of violence and emotion, stunning narrative with breathtaking imagery, and overwhelming historical accuracy. Like no other author of contemporary fiction, Baker asserts his extraordinary faculty of creating evocative word pictures, along with an uncanny aptitude to encapsulate the most heroic and loathsome qualities of the human spirit. Some critics may argue that Baker's writing may not be worthy of prolonged superlatives or comparisons with the very greatest of British authors: his plots lack the dexterity we see from some; his characters, the depth and range we have come to expect from others. All the same . Time and time again, W. B. Baker repeatedly demonstrates a stunning talent to reveal England's collective integrity. His novels dominate historical fiction with the writer's impartial portrayal of our imperfections and consummate greatness. Perhaps that is exactly what we, as a nation, desperately need from time to time - a writer unafraid to whip away the froth of romanticism and expose our all too often base human nature. - Critique in Review Aldershot, Wokingham At long last, a novelist has arrived with the wit and aptitude to justly claim the throne of allegory left vacant for so long. - Windsor, Berkshire, England Once or twice within one's lifetime an author comes along who actually manages to unfurl and advance the banner of genuine Literature: to reclaim the soul of Britain in the name of something far grander than simple prose. - St. Ives, Cambridgeshire
Jehovah drove out Adam and Eve and placed at the east of the Garden of Eden a cherubim and flaming sword that turned every way to keep the way of the Tree of Life. So too when the ship of Joseph of Arimathaea left Jerusalem after the Crucifixion and ultimately alighted on Englands shore, legends divulge that he had rescued artifacts and untold treasures from the Roman hordes. The Holy Grail was reportedly whisked up to Scotland by the Knights Templar, but that was not the only treasure Joseph managed to protect. In Pilton Wood, the Creator set another sentinel: to thwart and impede the avarice of unscrupulous men through passing centuries. With her formidable Paraclete, she watches until the Final Day: when the Twelfth Empyrean may, at long last, end her watch and revisit the halls of heaven.
Flashing through crystalline skies on prism wings of gossamer or madly cantering through autumn’s fallen leaves astride their nutmeg-colored mounts of sable voles and ash-colored mice: images of sprite-like fairies with insanely delicate features, bedecked in gauzes of layered green, shimmering with morning’s dew. Fairies bequeath themselves as the virtually immortal emissaries of enchanted glens and timeless worlds that twinkle amidst the shattered nonsense of our dreams. Well may that all be true. Quite possible, then every bit as real, may be phantasmal, spectral creatures that glide through the folding fogs of night: an entire world of entities who, long fallen from the morning stars, have twisted their whole existence to thwart the intent of God and pathetic exploits of man. Horrific and terrifying, blackened apparitions lurk at the very edge of short-sighted humanity’s periphery with features that curdle both our hearts and our imaginations—soulless, illusory beings that nightly prance and plot amidst a nightmarish existence that lies just outside mankind’s perception. Enduring the squalid darkness eternally, they wait patiently, every iota as legitimate as the fleeting, pale, and all too fragile physical reality humanity chooses to acknowledge and inhabit. One would do well to keep in mind that not all fairy tales are purely make-believe.
A beautiful tale about an equally majestic culture, effortlessly revealed by a writer with a masterful command of language. Best of Carmarthen Carmarthen, Wales A fantastic novel, and a must-read for any native of Wales. Not only are the characters of the people and land portrayed in beautiful, lyrical writing; the spirit of Wales becomes very nearly tangible in this great novel. This work is replete with local superstitions, myths, and legends: giving the reader a clear insight into the heart and mind of a nation. Dragons Under Carmarthen Westminster, England A stunning depiction of post-Roman Wales, The Orphans of Carmarthen captures the natural magic of the rolling countryside. The author is a master of exposition, using words to great effect in painting the poverty and beauty of post-Roman Carmarthen. His knowledge of the local superstitions, myths, and archaeological evidence is remarkably thorough, and woven throughout the adventures of the small boy and his dog. Having been to Carmarthen on several occasions, this book touched the familiar, fond memories and painted the hills along the Towy as well as any artist might have done. While pastoral and tranquil in depicting the love between the pair, the battle of the dragons was nothing short of spectacular. “...a compelling depiction of pre-Christian Wales.” “The author triumphs in creating a work of fiction entirely appropriate to the historical environment, while embracing the regional superstitions and legends of a long-forgotten age.” Gary Mitchell, SPX “Emrys then turned for one last glance and glimpse of the majestic, grappling dragons. How eloquently their unspoken wrath pronounced the finite, matched confrontation of evil and good: how gloriously their encapsulated metaphor for mastery simply diminished all the earth, both above and here beneath. Here was, in simile, the eternal struggle all men fought, played out in bloody, violent terms the whole of humankind might understand. A battle that Emrys surmised neither the red nor white would ever win: the character of each defined within and perhaps only by, the confines of their struggle. Perchance, the pair were true champions of the gods, with no purposed intent other than to fight; surviving but to hold the other one at bay: their existence only ratified in that the crimson was everything the white one realised he was not, and conversely, the ashened dragon only what the red might never be. As he turned to take his leave, Emrys pondered if either was truly virtuous or depraved: if character, even among beasts, might be so easily resolved. Neither yielded when in pain, nor took advantage when its opponent fell; as if each knew full well that one without the other must but eventually die. Only through their magnificent struggle was strength actually verified; only in this savage conflict was the character of each truly defined.” The regions of Wales have long been the source of timeless legends; stories that, somewhere in mankind’s memory and dreams, might well be based in fact. Just such a legend is the ancient account of a fatherless boy who lived near Carmarthen; an orphaned child who shunned the companionship of men; who lived among wizards and fantastic dragons; whose solitary life changed the course of one nation’s destiny. The counties of Clwyd, Dyfed, Gwent, Powys, and Gwynedd are as distinct in features as the five oceans, while remaining as inseparable in character as the five points of a single star. Likewise, the separate valleys of Glamorgan, while sharing a common inclusive mythological history, distinguish themselves from each other within the specifics of folklore and legend. The Orphans of Carmarthen concerns itself with the sociological and religious climate of the Towy
Every legend is based in part on facts: Some are undeniably glorious, Others may be unexpectedly heroic, A remarkable few remain truly horrifying . . . Hercules' immortality was solidified in Greek mythology as a result of his Twelve Labours. After a decade of penance and punishment by the Gods, he was commanded to steal the golden apples of the Hesperides from their garden at the edge of the world: guarded by a bestial monstrosity who was the son of Titans. The Britons of the ninth century moors faced extermination from rival bands of Juts, Huns, and Celts. The very last apparition any expected to face would have been the hideous reincarnation of Hercules' eleventh Titan. LADON
Far above intelligence loom hints of the divine. Staggered, we hear but cannot comprehend Witness - yet are unable to describe Caress - but never dare to hold. Immortal truths whose mere possession extinguishes our poor and pale mortality.
LOCKED IN OPPOSITION SINCE SCRIPTURE’S SECOND DAY, EACH CONTENDS THE WORLD IS RIGHTFULLY THEIR OWN; ALREADY SNARLING IN OPPOSITION EVEN AS DRY LAND CHOSE TO DEFY THE SEA AND RISE ABOVE THE WAVES. NEATLY CONCEALED BETWEEN DUSK AND DAWN, BOTH HAVE BEEN DELEGATED TO MANKIND’S FITFUL IMAGINATION: REVULSION PROWLING THE PATHS OF TERRA FIRMA; ECSTASY CONSIGNED TO EVER ROAM THE SHIFTING SANDS. OVER BOTH AND IMPERVIOUS TO THE ELEMENTS AND TIME, HORROR STRIKES TERROR BY STALKING MANKIND THROUGH THE GUISE OF THE FAMILIAR; WHERE, LEFT UNATTENDED, IT ULTIMATELY DEVOURS THE MIND. AND, HAVING HUNTED HUMANITY SINCE THE DAYS OF EDEN, HORROR HAS COME TO KNOW EACH OF US QUITE WELL.
Over the centuries, Tartraven Castle had become imbued with the sorrow of countless human tragedies, each dissipating their collective sorrow upon the gnarled and knotted limbs that hung motionless amid forlorn mausoleums of forest green. Centuries of bleak, windy nights filled with evil spells, enchanted creatures, and misshapen horrors are to the civilized simply mythslegends and harmless fairy tales. Sensible people are never truly terrified of fiends lurking in the darkness as one bravely stares intently into the black, encroaching night . . . Not until, one ill-fated evening, when one inadvertently glimpses the telltale glow of their eyes intently staring back.
The utmost threat to William II, King of England, could never be frustrated or thwarted by his fortress of The Tower of London. Richard, son of William the Conqueror and heir, was inadvertently dispatched in a hunting mishap. His nephew was later coincidentally killed in another hunting accident in the very same forest. As in every pride of lions, the most formidable attack upon one's legacy is frequently sprung against a dynasty from within: often from the very litter that share the King's bread, if not his very bed.
Centuries of warfare had barely encroached upon Glamorgan's boundaries and any who dared its conquest met with bold resistance. Warriors lurking in the mountains of Wales invited all unwary trespassers to come and taste of death. Such was the case in 1316, when Edward II attempted to resurrect a United Kingdom after the execution of William Wallace. As Edward and his Nobles would all too soon discover, the rage that English garrisons uncovered across the valleys of Wales would prove to rival any fury of the Scots. Events and surroundings that would reveal the determination and true nobility of humankind.
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