There is something to be said for the post-War boom in artwork and entertainment featuring stone circles. In his essay The Edge of the Ceiling, Alan Garner writes about the profound effect of World War Two on his childhood and later artistic sensibilities: "Daily life was lived on a mythic plane: of absolute Good against absolute Evil; of the need to endure, to survive whatever had to be overcome." Stone circles are themselves a sort of mythic plane: a symbol of endurance, as well as a handy setting for vast, existential battles between Good and Evil. But in reaching back into the deep past, to a place where kings and monsters co-exist, they also sidestep the horrors of more recent events. They offer not just the threat of history repeating itself, but also the opportunity to redeem the world once more.