Introduction
The battle between good and evil is a common theme across many fantasy novels, but few capture this timeless struggle as vividly as Susan Cooper's acclaimed The Dark Is Rising sequence. Published between 1965 and 1977, these five young adult books chronicle the story of eleven-year-old Will Stanton, who discovers he is the last of the Old Ones, an ancient group dedicated to fighting the powers of the Dark. In the second book, The Dark is Rising (1973), Will comes into his power as an Old One and faces his destiny against the rising dark forces. Cooper crafts a complex world filled with Arthurian legends, Celtic mythology, and apocalyptic imagery, using the fight between good and evil to convey profound messages about free will, moral courage, and the difficult choices one faces growing up. Examining the nuanced portrayal of good and evil is key to appreciating the richness of Cooper's story and the relevance it holds even today. This essay will analyze the complex dynamics between the Light and the Dark in The Dark is Rising, showing how Cooper subverts simplistic notions of good and evil to weave a resonating narrative that has enthralled generations of readers.
Background: The Dark Is Rising Sequence and Its Influence
Susan Cooper's The Dark is Rising sequence is considered one of the most influential works of 20th century young adult fantasy fiction. Published between 1965 to 1977, the five books trace the story of Will Stanton, a normal English boy who discovers on his 11th birthday that he is the last of the Old Ones, ancient beings who have been fighting the powers of the Dark across different eras. The second book, The Dark is Rising (1973), is particularly focused on the timeless struggle between the Light and the Dark. The setting is England in the 1960s, but Cooper draws heavily from Arthurian legends, pagan mythology, and apocalyptic Biblical imagery to craft a setting steeped in magic and supernatural forces. A critical theme is the idea of free will - how much control do Will and others have over their own choices and destiny, or are they at the mercy of these primal forces of Light and Dark? The book was very well-received for its complex world-building and moral nuance. It won a Newbery Honor award in 1974 and is regarded as a classic that set the standard for young adult fantasy fiction depicting epic spiritual warfare.
Moral Courage and Sacrifice: The Demands of Good
Though the Light is depicted as a fundamentally noble force aligned with free will, Cooper shows how even "good" characters must find moral courage and make sacrifices. For instance, Will often struggles with fear and uncertainty over his destiny to fight the Rising Dark, wondering if he has the strength. When the boisterous Old One Merriman Lyon explains that Will alone can wield the powerful Signs to beat back the Dark, Will protests, "Nobody else can do anything? Only me? One small boy against all the Dark in the world?" (Cooper 155). He must dig deep to find reserves of inner fortitude. Cooper also shows good people conflicted over duty - at one point Will wants to help a mortal girl in danger but is told he must not interfere with human affairs (Cooper 178). Good characters like Will thus demonstrate that being moral requires emotional maturity and a willingness to make hard choices.
Moral Complexity of the Dark: Beyond Absolute Evil
Though the Dark is positioned as the villain, Cooper suggests it is not entirely evil, adding moral complexity. For instance, the sinister Rider tells Will, "I am Herne the Hunter, Herne the Lord of Storms, Herne the King of Fire and Shadow" (Cooper 105). By drawing from Celtic pagan mythology, Cooper connects the Dark with natural forces beyond good and evil. She also shows Dark creatures mourning their defeat after Will gains a powerful Sign, writing, "There was a wail of despair in the air, a blast of cold loss and misery like the wind blowing across the world from ultimate desolation" (Cooper 210). Finally, the Rider sacrifices himself to obtain a Sign, which Will calls "the most courageous thing that anyone could do" (Cooper 269). Thus despite its ominous mysticism, the Dark exhibits some sympathetic and even noble qualities.
Subverting Simplistic Interpretations
Some may argue that the Light and Dark are depicted as unambiguous symbols of good and evil, with the Dark possessing no redeeming qualities. However, while the Dark certainly represents sinister forces that threaten free will and human life, Cooper's nuanced storytelling suggests the boundaries between good and evil are less clear-cut. The scenes showing morally conflicted characters on the side of Light prove its goodness is hard-won through inner fortitude and sacrifice. Meanwhile, the sympathetic qualities attributed to the Dark, from mourning loss to demonstrating courage, add complexity. Rather than a shallow portrayal of good versus evil, Cooper subtly crafts each side to subvert simplistic interpretations, lending richness and depth to her high-stakes fantasy epic.
Conclusion
In The Dark is Rising, Susan Cooper expertly utilizes the timeless struggle between good and evil to weave a thoughtful narrative about moral complexity and coming of age. Young Will must find the courage to wield his power against the ominous Rising Dark, but also face difficult choices that test the limits of free will. Meanwhile, Cooper suggests the Dark possesses merits such as courage and grief, resisting a simplistic characterization. This nuanced exploration of the Light and Dark's competing goals, motivations, and sacrifices adds philosophical depth to what could have been a straightforward adventure tale. Will's emotional journey sheds light on how we all must one day leave childhood innocence behind and make difficult moral decisions. Like the Light and Dark themselves, Cooper shows how the passage to adulthood is filled with shades of grey.
