Moving some books around I found a copy of Beowulf, with the credits on the cover to Charles Keeping and Kevin Crossley-Holland. Readers will know that the illustrator is not normally the first named. Most readers of children’s books in the post war period will be familiar with Charles Keeping and his style of illustrations. Many of my copies of books by Rosemary Sutcliff have them, including Dragon Slayer: the story of Beowulf.
It is not immediately apparent that this is a book for young readers, but the blurb on the back says that it is ‘retold for children’. A Wikipedia search tells me that Oxford University Press created a series of four books, this is one of them, to showcase Charles Keeping’s illustrations. It was published in 1982. I can’t remember how it came into my possession, possibly I inherited it in the collection of books I received when my mother died a few years ago.
This is the fourth in a series of connected posts, connected by the ancient English poem Beowulf. You can find links to the previous posts at the end of this piece.
This is not a translation, but a retelling by Kevin Crossley-Holland. I referred to another version of his in the first post I wrote on this ancient poem as well as the version by Rosemary Sutcliff published in 1961, also with illustrations by Charles Keeping. In the present version the illustrations are powerful and provide the dark atmosphere for the story.
They are in black and white which makes for stark images and reflects the Nordic location of the poem. Beowulf was a Geat (from present day Sweden) who travelled to assist Hrothgar, the king of Denmark. This king had built a huge feasting hall, Heorat, that was being terrorised by a monster called Grendel.
The illustrations do not shy away from the horror, violence, and pain. The story tells how Beowulf defeated Grendel, causing his death by ripping off his arm. Not just one but two monsters are taken on by Beowulf. If anything, Grendel’s nameless mother is an even more formidable enemy than Grendel. She has supernatural powers and Beowulf must wrestle with her underwater.
The pictures are drawn with fine lines, which pick out individual features, for example of sleeping warriors. But the lines are also used to create the surroundings of the figures, often in fog, or at night, or with simple stalks growing from the ground. When we see them, the people’s faces are gnarly and often scarred. Grendel is the stuff of nightmares.
Through the dark night a darker shape slid. A sinister figure shrithed down from the moors, over high shoulders, sopping tussocks , over sheep runs, over gurgling streams. It shrithed towards the timbered hall, huge and hairy and slightly stooping. Its long arms swung loosely. (17)
Perhaps only the one-armed Grendel shrieking as he ran is more terrible. Or his hairy arm, ripped from his body and pinned up by the entrance to the hall. Commentators suggest that Charles Keeping’s monsters have a human and vulnerable quality to them, and that makes them appealing to the viewer/reader.
Charles Keeping was born in 1924 and spent some of the war years in the RAF serving as a wireless operator. At the end of the war he was wounded and after his recouperation attended art school and began his career as an illustrator. It took off after he had illustrated Rosemary Sutcliff’s historical novel The Silver Branch. He had a very successful career, illustrating children’s books most often. He died in May 1988.
Beowulf by Charles Keeping & Kevin Crossley-Holland, published in 1982 by Oxford University Press.
You can see several of Charles Keeping’s illustration on the Paris review website (September 2015) called Charles Keeping’s Beowulf with a link to yet more.
Beowulf – 1 (February 2021)
Beowulf – 2, in which he meets a feminist (June 2021)
Beowulf – 3, Grendel by John Gardner (March 2022)