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Wildish is set in Georgian England, under King George II, one of the country’s less inspiring kings–but also during a dangerous period with the threat of invasion. What prompted you to choose this setting for your novel?

The Georgian era really was very exciting with a flamboyance of style and an extravagance of fashion that has rarely been surpassed. It was the age of the Enlightenment, too, a frontier of science and rationality, but with already the opposing forces of Romanticism gathering on the horizon. In Wildish, this conflict is represented through the pairing of the heroine Johanna and her husband Sam, the one embracing the arts and certain aspects of the occult, the other devoted to astronomy and instruments of scientific prediction.

On a more earthy level, the Georgian period was also a time of great licentiousness, an ‘anything-goes’ kind of society – the perfect stage onto which the would-be hero Mr Wildish might stride forth.

Can you give readers who may not be familiar with the era a brief summary of the state of the monarchy–the Hanoverian kings, the Old Pretender and the Young Pretender?

It can all sound a bit complex, but it’s really just an outcome of the division of the Church that took place with the Reformation. Ever since the time of the Tudors, the English ruling classes have sought to adhere to the Protestant faith, and even the slightest whiff of Catholicism was usually enough to throw them into a tailspin. They panicked in a major way in 1688 during the reign of James II who converted to Catholicism – upon which they decided to dismiss him (and the entire Stuart dynasty) and bring in a series of handy Protestant replacements from overseas, some of which had only very distant entitlements to the throne – especially the Georges. They were from Hanover in Germany and did not even speak English at first!

Meanwhile, the descendants of the exiled King James continued to maintain their rights to the throne, and they took up arms against the Hanoverian monarchy during the Jacobite rebellions of 1715 (led by the Old Pretender) and 1745 (the Young). It is the ’45 and the arrival of the charismatic figure of Bonnie Prince Charlie that forms the background to the story of ‘Wildish.’

Without giving too much away, how would you compare your protagonist’s early personality with his character near the end?

To craft a novel of almost 600 pages entirely from the point of view of just one person was always going to be a challenge, and so the hero himself had to be a highly complex and likeable person. Matthew is both complex and likeable. Trained as a Master Wigmaker in Paris, he is an Irishman living in England and a former Catholic turned Protestant. He is a poet and also a spy. He loves the arts, especially music, and he loves the ladies. Most of all he is a devotee of the masquerade, a popular entertainment in Georgian London, and even makes carnival masks in his spare time.

At the start of the story he is a purely hedonistic individual, still young and determined to enjoy his bachelorhood to the full. Gradually, however, he finds himself called upon to undertake various deeds of untypical self-sacrifice and bravery. He also realises that he is falling in love for the very first time with a woman who, inconveniently, happens to be married to his best friend. And as if all this was not enough, the drums of war are sounding. Change, for Matthew, is inevitable.

What is the significance of the seven celestial bodies, other than the obvious, literal interpretation presented?

Inevitably, this answer is going to contain some spoilers, but I’ll try to keep them to a minimum. I wanted to suggest that love, like energy, is something universal, something that can be exchanged or transformed but never destroyed – so that, say, carnal love might be able to transform itself into different, higher forms of love such as compassion or kindness etc.

The hero in the story is a libertine and a serial seducer, but once he begins to set his sights on the stars as a context for his would-be conquests, things begin to develop in unexpected ways. He then inadvertently manages to stumble his way through the 7 Corporal Works of Mercy – a sequence of moral precepts that still to this day underpins many of our ideas of charity and social care (based on the biblical parable of the sheep and the goats). He is led towards these ‘good works’ by composing sonnets to seven quite powerful women who each unwittingly becomes the catalyst for change and for the enactment of a different kind of love – all the while without Matthew himself ever realising that he is somehow making the world around him a better place.

Love, in other words, should not be the subject of moral judgement. Behind the many different masks it wears, there is always something wonderful and redemptive, a universal energy at work.

Did you come across any particularly interesting material when researching this book?

Yes, indeed. Regardless of how outrageous or bizarre some of the content might seem, particularly the debauched antics of the gentlemen’s clubs or bagnios of London, it is all based on fact. The infamous Hellfire Club was developing at this time, and there was also a parallel in real life to the Cornhill Wig Club featured in the story (though this was located in Scotland). It was great fun researching all this – though I must say that learning about the Jacobite rebellion and its brutal repression was not quite so pleasant. My allegiances changed back and forth a good few times before finally settling on a slightly pro-rebel agenda – all of which eventually led back to the sheep and the goats again, and the dreadful reality of so many dear people becoming ‘lambs to the slaughter.’

What was the most challenging aspect of writing this novel? Was it any more difficult than your previous novels?

It would have been easy to have carried on writing Tudor novels after ‘Virgin and the Crab’, or Gothic novels after ‘The Arrow Chest’ – but I wanted to convey an image of the Georgian world that went beyond the foppish, gin-soaked interpretation that it so often falls prey to. It was, in fact, a time of the most wonderful poetry, music and architecture, and populated by men and women of immense bravery and intelligence. The potential for the unexpected is always just a turn of the page away in that kind of environment.

Maybe that’s the best thing about being an independent writer: the freedom to take risks, to explore seldom-visited places, to champion lost causes – or even to try out a multi-layered story sometimes that might be perceived as little more than a bewildering sequence of comedy sketches. Everything is possible when you are not compelled to ‘play the averages.’ That kind of freedom is exhilarating, and I hope some of this rubs off onto the reader.

On the other hand, did you find Matthew Wildish a more malleable character than John Dee, from Virgin and the Crab, since the former is purely fictional?

A writer can usually guarantee an audience by focusing on prominent characters from history – and the more famous (or infamous) the better. But, like you say, these are far from malleable. With so much interest in history these days and so many experts at large, people can become really het up about lapses in historical accuracy, and so the writer of historical fiction really has to find a way of accommodating this without sacrificing the creative imagination.

John Dee was a real person from the past, and when I wrote about him and Elizabeth Tudor in my first novel ‘Virgin and the Crab’, I kept pretty much to what could legitimately have taken place, while at the same time presenting the story as a kind of theatrical extravaganza, a history play allowing the characters a certain degree of ad lib. Later on, with ‘The Arrow Chest’ I lifted the real historical events and characters out of the era in which they belonged and dropped them into an entirely different one, thereby providing even more room for them to operate without constraints. With ‘Wildish’ I hope to have gone a step further with an entirely fictitious set of characters who represent far more than just who they are.

Perhaps historical fiction is at its most beguiling when it can transcend history itself, liberating the characters into a space where they, and the readers, are encouraged to explore and to question – not just about events that are known to have happened in the past, but about universal things that concern us all, no matter what time or place we find ourselves in – just like Mr Wildish and his ‘different kinds of love.’ I like to think that, anyway.

Thank you, Arleigh, for such super questions and for giving me the space to answer them in full. It really has been a pleasure.

by Jean Plaidy

This is one of three Young Adult novels by Jean Plaidy in Max Parrish’s “The Young” Series.

As in her novel Royal Road to Fotheringhay, Plaidy begins with Mary, Queen of Scots at the age of five. Scotland was in danger of being invaded by the English, who wished the young, fatherless Queen to be taken to the court of Henry VIII and eventually married to Prince Edward. However, she was whisked away to the island of Inchmahome and later sailed to her mother’s homeland, France. Instead of an English alliance, she was betrothed to the dauphin—the delicate eldest son of King Henri II and Catherine de Medici. Life at the French court was enchanting, except for the frightening Queen, who took every opportunity in embarrassing the Queen of Scots. There were also her power-hungry Guise uncles, who relentlessly steered her to policies that served their interests. This story, based solely on her younger years, ends with Mary leaving France for Scotland after the premature death of her first husband, King Francois II.

One very blatant absence is the character of Diane de Poitiers, who was not mentioned at all in this story. I am assuming this has to do with the fact that she was a “mistress” and was not considered fit for children to read, even though Plaidy’s descriptions of this sort are always vague anyway. Lady Fleming’s dalliance with the king was also not included—only the Queen’s displeasure with her role as governess and the lady’s departure to Scotland.

This book is increasingly hard to find, having been first published 50 years ago, though a paperback version was released in 1972. Plaidy also wrote a book in this series for Queen Elizabeth I as a young girl, and Meg Roper, the daughter of Sir Thomas More.

by C. W. Gortner

C. W. Gortner has once again taken a controversial historical figure and made her into an admirable protagonist. Like Juana from The Last Queen, Catherine de Medici has not enjoyed a plethora of novels depicting her in a positive light. From Jean Plaidy’s trilogy (Madame Serpent, The Italian Woman and Queen Jezebel) to The Devil’s Queen by Jeanne Kalogridis to Susan Carroll’s Dark Queen series you can find much fiction based around this Italian born French queen, but none quite give Catherine a chance at being a reasonable woman and meritable monarch. Until now.

If you’re looking for just another novel on a murderous, power-hungry queen, this is not your book! In The Confessions of Catherine de Medici you will find a stalwart, determined woman who looks beyond her heart’s desire to protect her acquired realm.

Beginning with a depraved childhood where she was once sheared and nearly starved to death in a destitute convent, Catherine had to make her way without parents or even siblings to guide and comfort her. Her only surviving relation happened to be the Pope—an uncle who planned to use her as the last Medici pawn in his power. Catherine was resigned to a marriage with France and accepted her fate with a quiescent grace. This attitude would serve her well as she transformed from duchess to dauphine and queen to queen mother.

Though her life with Henri (France’s King Henri II) seemed severely abridged in this novel, I believe it only seems that way to me because I’ve read Courtesan by Diane Haeger, which focuses on Henri and his mistress Diane de Poitiers and gives every small detail possible. In fact, The Confessions of Catherine de Medici focuses more on Catherine’s role in her children’s lives after Henri’s demise and her importance to French politics and the monarchy.

Though Catherine has visions, they are vague and not very frequent. I thought this added the right touch of mysticism without giving an onslaught of the occult as with other novels on this particular queen. There is poisoning, but Catherine is not actively involved, nor does she order the murder of anyone in the way of her ambitions. However, it must be noted that she is very human, and as such makes mistakes and learns from them.

The dynamics between the Valois kings, the Duc de Guise and Henri of Navarre and the conflict between the Catholics and the Huguenots make up the greater of the book and was a great refresher for me, as I read a novel on Navarre (Evergreen Gallant by Jean Plaidy) and enjoyed learning about the particular religious strife in France during this time.

Though extremely sympathetic to the protagonist, I felt this to be a refreshing, much deserved perspective on a frequently maligned queen.

by Margaret Campbell Barnes

This book begins with Henry VIII’s search for a fourth wife and ends with his death. Though her earlier life was not covered in great detail, the reader still gets a sense of who Anne of Cleves was and how her personality developed. Since being painted by Hans Holbein, Henry VIII’s court painter, and chosen over her more attractive sister, she began seeing herself differently and gained the confidence needed to overcome the great culture shock she suffered when arriving in England. Historical fact is very vague on precisely how and why Henry did not want to continue the marriage, and I think Barnes has envisioned a scenario that may well be very accurate. I was surprised to find Holbein used as a supporting character, but it fits nicely with the time line of Anne’s arrival and his artwork. Archbishop Cranmer is a likable character, as is Mary Tudor and several others that are rarely featured favorably in historical fiction. I am very surprised that this book was written in the 1940′s; it has a modern feel to it. Novels on the lesser known wives are hard to find and I think anyone interested in Anne of Cleves will really enjoy this read.

by Kathleen Winsor

Forever Amber is a staple of classic historical fiction, along with Katherine by Anya Seton, Rebecca by Daphne du Maurier and Gone with the Wind by Margaret Mitchell—yet is set apart by its brow-raising protagonist. While Amber was not by any means a great, admirable woman, the background of this story and its amazingly accurate and eye opening historical details of the lives of every class – from the beggar in the street to the King himself — were poignant, true to form and mesmerizing. It is the best work of fiction I’ve ever read covering the rank in society of 17th Century England.

Amber went through every dirty and glamorous occupation open to women of the age, including country maiden, prisoner, actress, mistress, wife, Lady, Countess, and Duchess. I think the only position she never held was waiting lady or shop girl, though there are plenty of descriptions of them throughout the book.

There are so many astonishing plots and schemes that it almost makes you believe there wasn’t a single honest person in Restoration England. Early in the book the story intertwines Amber and what is happening in the court of Charles II, but she doesn’t make it to that society until much later. These parts were not as intriguing to me as Amber’s life because I already know what was going on with the king, his mistresses and courtiers. But, those who are not familiar with Charles II will no doubt enjoy those parts of the book. I did, however, laugh out loud at some of the antics of my Lady Castlemaine and the Duke of Buckingham. It’s almost impossible to read of these two without finding humor.

There are descriptions of fops, ladies of quality, husband and wives (and their fashionable dislike of one another), highwaymen and the undercurrents of the criminal side of London, country Lords, merchants, peddlers and unfortunate old maids with no occupation but tending the sick poor.

We follow Amber through her triumph at the King’s Theater, the Plague and Great Fire and through several disastrous marriages and assignations. Through it all she saves her love for one man –Bruce – who slips in and out of her life always leaving her desperate with longing.

I was never quite a fan of Amber – she was selfish and completely ridiculous at times, especially when it came to Bruce. She never had great feeling for her children and it seemed her world revolved around frivolity and her perpetual pursuit of ‘the one man she couldn’t have’, but there were parts in the story where all of that was stripped away and you get to see real courage. This is especially prevalent during the Plague and her most unfortunate marriage.

Bruce I found to be completely self-serving. Though common sense ruled him, he had no problem allowing Amber to hurt herself again and again. Had he one ounce of feeling for her, he should have stayed far, far away. He was a disappointment.

The ending seems to cut off abruptly, and I cannot believe there is no published sequel (though one was started by the author) and we are left to wonder what happens. I won’t say more to avoid spoilers. Though I am very piqued with the ending, I have to say that it was worth every page — all 972 of them.

by Catherine Delors

After the French Revolution, when families were picking up the pieces of their scattered lives—loved ones dead, fled abroad or hiding from the new regime—two factions against Napoleon Bonaparte were actively plotting attacks and assassinations. The Chouans were royalists and wished to restore the monarchy, while the Jacobins were revolutionaries who did not support Napoleon as First Consul (and later as Emperor). For the King retells the infamous case of the Rue Saint-Nicaise bombing that narrowly missed its intended target, and the search for the culprits guilty of the gruesome crime that killed or maimed many innocent people.

Our hero, Roch Miquel, Citizen Chief Inspector, is not politically aggressive or religiously fanatical, and follows the law as an honorable person in his position should. But when his father, Old Miquel, is jailed for a few carelessly spoken words—and may even face the guillotine—Roch must use all of his resources to bring about the arrest of the men responsible for the crime. Along the way he finds that his superiors are not averse to corruption, friends are fallible, and love is not always what it seems. It is in fact a race against time when a date is set for Old Miquel’s release or demise.

This novel definitely has a mystery feel, though I’d still label it as historical fiction (rather than historical mystery) because we, the readers, meet the foes early on and know more of the truth than the protagonist throughout the story. The manner in which Roch finds the truth and plans his investigation is the interesting aspect and I found the story fascinating, from descriptions of post-revolutionary Paris to the new way of life of its people.

Like Annette Vallon by James Tipton (one of my favorite French Revolution novels) For the King describes the fate of the lower classes and the fallen aristocrats, the new social statuses and how France pieced together its shattered populace into a republic when so many could not forget—and continued to support—the monarchy. The divided, pretended or secret loyalties to the claims on France’s early 19th century government, and finding out who is in each camp is the main theme to this engrossing tale. French history lovers, mystery readers and even those new to the Napoleonic era will love this book!

by Sandra Worth

This is the story of Perkin Warbeck–who was known as the second pretender to the throne of England during the reign of Henry VII–and his wife, Catherine Gordon, the daughter of a respected Scottish noble. Richard (as he was called by his wife and the monarchs of Europe) and Catherine had a promising future–love, a child and another on the way, and the assurances of support from many royal personages on his attempt to take the crown and proclaim himself King Richard IV of England. Unfortunately, things didn’t go as planned and the couple ended as prisoners to ‘The Tudor’.

Henry VII, as depicted here, is a miserly, uninspiring monarch nearly controlled by the overbearing Queen Mother (Margaret Beaufort), but there is also something in him that I’ve not seen in any other portrayals: a man with a slight conscience, who also covets the woman his rival holds very dear. In fact, he was known to have called her his ‘black swan’. With her beloved husband and child held captive by this most devious king, Catherine must play her cards well to survive among those she knows are enemies.

I learned very quickly that this read has Yorkist leanings. I don’t mind seeing different political points of view, however I believe this one to be unfairly balanced. Both Henry VII and Henry VIII are evil incarnate (with a slight exception of the former’s ‘softness’ for Catherine), while Richard III and other Yorkist royals seem to be favorably described. I, myself, am undecided on the Lancaster vs. York debate, but I don’t feel either side is completely innocent of wrongdoing. After reading Philippa Gregory’s The Red Queen and Susan Higginbotham’s The Queen of Last Hopes and understanding the background of the claim, I have a slight preference for the red rose. That being said, I do enjoy reading books of both leanings, yet when I see certain characters completely depraved, I know it’s not entirely fair.

My favorite character is Cecily, sister of Queen Elizabeth. She’s one of the few friends Catherine finds in the Tudor court and her bubbly personality breaks the monotony of Catherine’s sheltered life. I can’t say any of the other characters made an impression, which is unfortunate with so many weaving in and out of the story. I enjoyed the elegant writing style, which was appropriate for the era and not overly antiquated. The timeline and accuracy of historical events are precise and neatly explained, as pertaining to Catherine’s life. This is a pleasant read and a nice addition to Wars of the Roses and early Tudor fiction.

Matthew, with a little prompting from his muse, Johanna, begins working on a set of poems that will represent the seven celestial bodies (The Sun, The Moon, Jupiter, Mercury, Saturn, Mars and Venus), and more literally seven women with whom he hopes to enjoy within a single day. This part of the novel—his conquests—which takes up much of the first half, for me was not the most interesting aspect. It becomes much more intriguing when a quirky, little link-boy starts showing up at strange moments just when Matthew needs helping-hand and the London begins to panic in earnest as a result of the impending danger from Scotland. Suddenly life is not so rosy and Matthew finds he must set aside his personal plans to keep himself and his friends from danger.

Although ultimately Matthew’s amorous predilections turn into a great farce, it was an awkward introduction to his character. Much of the early material is essential for character building however, and I won’t hold it against the author—but will say it may turn off some more picky readers. I think Matthew finally grew on me when he made the decision to journey into enemy territory with a wild plan and no personal gain in mind.

This is an excellent account of the “Forty-Five Rebellion” lead by Bonnie Prince Charlie, Charles Edward Stuart, the ousted King James II’s grandson—also known as the Young Pretender. The mood of the people, the two opposing sides and the gruesome details of the battles are minutely described to the very conclusion of this final Jacobite uprising in England.

At 585 pages, this is definitely not a quick read but the pages seem to speed by as you’re immersed in the storyline. As there are not many historical novels set in this time period it is a refreshing break from the Plantagenets, Tudors and Borgias. If you’re looking for an involved, yet humorous read, with a bit of adventure and eccentricity mixed in, this novel will satisfy. I really enjoyed it! (said the actress to the bishop, what?)

by Sandra Byrd

In the entourage of Swedish Princess Cecelia, Elin von Snakenborg arrives in Elizabethan England after a harrowing months-long voyage, unsure about her future when she finds her dowry and her fiancés affections usurped. However dim her prospects, she shines at court with her quick wit and unflagging devotion to her mistress—qualities not lost on England’s formidable monarch. When the time comes for the Sweds to move on, Elin is asked to stay, for she had captured the eye of a marquis and the respect of the Queen of England.

Elin became Helena, Marchioness of Northampton—the second lady in the land. Privileged as she may have become, she was also confined in many ways, with the Queen’s wishes always priority and political intrigue ever lurking in the shadows. With her family life perpetually in the background, she constantly questions whether perhaps her happiness is to be found outside of court life. Though fiercely loyal to the queen and ever intent on serving her, Elin eventually finds herself inadvertently caught in a plot to overthrow Elizabeth and place the Catholic Mary, Queen of Scots on the throne. She realizes she must delicately extricate herself for the future of her family and her queen, though perhaps to the detriment of her beloved husband.

This is the third in a series of “Ladies in Waiting” to Tudor queens by Sandra Byrd and I have enjoyed each one. Not many authors can present fleshed-out characters inside the very first chapter, but this is the case with Elin. She is even more interesting because she was in fact a real person, married to the brother of Henry VIII’s last wife, Catherine Parr. I enjoyed reading the parallels between this novel and the author’s previous book, The Secret Keeper, which features a young lady close to Catherine. I recommend this book to Tudor enthusiasts and even those thoroughly over-read in the era, as the interesting Swedish protagonist brings a fresh perspective to the genre.

GIVEAWAY
Runs 4/27/13 – 5/5/13
1 Random Winner

Author Sandra Byrd has sponsored this giveaway of a beautiful pendant featuring Elizabeth I and a paperback copy of Roses Have Thorns. This giveaway is open to US and Canada residents and ends on Sunday, May 5, 2013. I use Random.org to choose the name of anyone who comments on this post. Thank you and good luck!

by Leila Meacham

Spanning eight decades (1910′s-1980′s) and chronicling three affluent families in a fictional East Texas town, this is an immense and engrossing story that holds the reader’s attention from start to finish. The Tolivers farm cotton; The Warwicks process lumber; and the DuMonts bring the town of Howbutker fine retail goods. The families have a long history dating back to The Wars of the Roses in England, and as such they have a code of roses. Red roses symbolize the asking of forgiveness, white is the accepting of forgiveness, and pink is a refusal of forgiveness. The families have a tradition of never giving each other financial support, as that would make one in the other’s debt and the proud families would rather lose their inheritance than their pride–except perhaps a Toliver.

Mary Toliver, who is the 3rd generation of her family to own Somerset Farm, is a lovely girl of 16 when her father dies, leaving the care of the land to her. The same generation of Warwicks and DuMonts produce young men who both adore her, and through many eventful years they form relationships bordering on the unbelievable. Yet, the character’s thoughts and decisions make perfect sense to fit with their personalities.

Not to discount the quality of the writing, but it reads like a very good soap opera, with gut-wrenching twists and unforeseeable difficulties. There are characters to love, ones to hate and a few in between. Atonement is the main theme of this book, and other than an ending that is commendable, though not the magnificent finale expected, I was spellbound through every chapter.

This book has been likened to Gone With the Wind and The Thorn Birds, neither of which I’ve read. I do enjoy family sagas (Karleen Koen’s Through a Glass Darkly, Now Face to Face and Dark Angels is my absolute favorite) and this is a welcome addition to the genre! The narration on this audio is wonderful–I’ve given up on two audiobooks recently merely because the voice(s) didn’t inspire me to devote 20+ hours to the reading of them, but I have to say this is one of the best I’ve heard!

by Jennifer Becton

This continuation concentrates on the character of Caroline Bingley, who is sent by her brother back to their mother’s home in the north when she refused to apologize for her part in separating Charles and Jane. Along with a mysterious hired companion, Caroline’s journey took her many miles from London society and placed her in the household of her mother’s second husband, a tradesman. Though a respected bridge architect and very wealthy, his rough manners are a stark reminder of Caroline’s own non-gentile roots, especially when she finds a school acquaintance in town, along with an eligible titled brother. With yet another potential suitor on the horizon–Caroline’s step-father’s business partner–she begins her journey of self-discovery through the myriad of upper-class society rules and etiquette she has always placed above all else.

This goes on my favorites list for Austenesque novels, as it focuses on one of the less commonly written characters and one Austen left in need of redemption. This Becton has provided and if Caroline is not completely likable as protagonist, the reader can at least understand her a bit more by learning her background and seeing her through the eyes of two men not very different from Darcy and Wickham. As nearly the entire story is set among non-Austen characters, it makes a refreshing read for the genre.

by Abigail Reynolds

This Pride & Prejudice variation explores what could have happened if Darcy had not proposed at Rosings and, with much personal turmoil on his mind that did not stem from his attachment to Elizabeth, cut all connections with the Bennets. When he happens upon Elizabeth in London, all of his feelings come rushing back and he finds he cannot stay away.

Elizabeth’s life has taken a downhill turn. Her father passed away without settling any of his daughters with a proper dowry and they are living on the charity of others. Jane, having never reconnected with Bingley since Elizabeth and Darcy did not have the necessary conversation during the proposal scene in this version, married an aging shopkeeper to lessen the burden. While Darcy and Elizabeth renew their acquaintance, Lydia (of course) causes a scandal, but surprisingly Darcy’s family turns out to be even more shocking.

I loved many characters in this book, and the antagonists turned out to be Darcy’s uncle rather than his aunt, and a cousin. Though there seems to be too much drama occurring in this story, it is a fun ride! I add this to my long list of enjoyable Austen variations.

by Jack Wolf

The explosive and controversial debut novel by a major new voice in fiction…

Meet Tristan Hart, a brilliant young man of means. The year is 1751, and at the age of twenty he leaves home to study medicine at the great hospital of St. Thomas in London. It will be a momentous year for the intellectually ambitious Mr. Hart, who, in addition to being a student of Locke and Descartes and a promising young physician, is also, alas, psychotic. He is obsessed with the nature of pain and medically preventing it, but—equally strong and much harder to control—is his obsession with causing it. Desperate to understand his deviant desires before they are his undoing, he uses the new tools of the age—reason and science and skepticism—to plumb the depths of his own dark mind.

Profoundly imaginative, unexpectedly funny, and with a strange but moving love story at its heart, The Tale of Raw Head and Bloody Bones is an oddly beautiful and daring novel about the relationship between the mind and body, sex, madness, pain, and the existence of God.

Giveaway: 1 paperback copy, open to US only, ends March 22, 2013.

by Eleanor Burford

This is the first Eleanor Burford novel I have been able to purchase, due to scarcity and cost, and I am happy to report that not only do I own such a rare novel, but I really enjoyed reading it as well! I didn’t know what to expect with this book, because it’s an earlier work than most of her historical novels written under Jean Plaidy, Kathleen Kellow and Ellalice Tate, and in a separate genre. I can’t speak for all Eleanor Burford titles, but this one was set in the time it was written (late 1940′s) and focused on a girl who was not what she’d been brought up to believe.

The first chapter in the book gives a snippet of Alexa’s parent’s love affair and then jumps to her life at the age of 10, as a farmer’s daughter. Her birth mother, Kathryn, was from an affluent family and with the help of her friend, Delia, hid her pregnancy and placed her daughter with a family close to her home so that she could watch over her. Alexa is a vibrant, happy child and always looking for the good in everyone and everything. Her personality is contagious and she is an easily well-liked protagonist. Her (foster) sister is as different in personality and appearance as possible, but there is a bond between them. Both girls are educated by the benevolent ladies who show a special interest in their plight. Alexa, who did not shine academically as her sister did, ended up a companion of the mysteriously generous ladies she had grown to revere. Meanwhile Alexa’s adoptive mother was a bitter and mean-spirited woman, bent on making Alexa’s life as miserable as possible without revealing the fact to the women who paid her handsomely for Alexa’s keep. Alexa’s adoptive father is kindly but lacks a backbone to counteract his wife’s behavior.

Add to the mix Alexa’s meeting with Rollo, a young man of Delia’s acquaintance who steals Alexa’s heart but holds himself aloof. Their first encounter, when Alexa was 10 years old, is one of the most humorous in the book and his personality reminds me much of Georgette Heyer’s characters. Here is a quote:

Alexa was stuck in a tree by her torn clothing and trying to rescue her cat:

“I have to get Tiger.” She glanced over to where Tiger was crouched, silent now and watching the new arrivals with interest.

“What! Is that Tiger?”

“Yes.”

“Pocket-size tiger, eh?”

“He’s only a kitten yet,” she said indignantly. “He’s very intelligent though.”

“Must be! To climb a tree he couldn’t descend.”

“He was driven up the tree.”

“Now I’m going to get you down first, then I’ll come up again for old Tiger.”

“I can get Tiger. All I wanted was someone to unhitch me.”

“Suppose you get hitched again! Torn frocks are very hitchable you know.”

They meet again when Alexa is 17, and the story evolves from there…

I found to my great pleasure that this book is every bit as detailed with character analysis as the author’s later works. The difference lies in the presentation: it is very verbose with dialogue in most parts of the book, and in this reminded me much of Heyer’s writing as well. There are parts that are very much “Plaidy” and some that remind me of Victoria Holt (such as the twisted, unexpected ending).

I would love to see all 30 Eleanor Burford titles reprinted. One can hope!

After speaking with author Leslie Carroll, who has a published novel on Emma’s life titled TOO GREAT A LADY (written under the pseudonym Amanda Elyot), I found that some information I’ve read (non-fiction, even) is erroneous, and thus I am reluctant to pass it along here. Emma Hamilton is, however, a lady I look forward to learning more about. Along with the beautiful paintings I am displaying here, Leslie has kindly offered a few thoughts on Emma to give us a little insight.

“I fell in love with Emma Hamilton when I was a little girl, long before I knew anything about her history, when, like many who met her in real life, I fell under the spell of her beauty. The portrait of the teenage Emma as “Nature” painted by George Romney hangs in the Frick Museum in New York City. That portrait spurred my fascination to learn everything I could about her. Her passionate, yet ultimately doomed love affair with Lord Nelson, a double-adultery, is, I believe one of England’s, if not the world’s, greatest real-life love stories. Emma’s life can be drawn in the shape of a perfect parabola; she began with nothing in a dirt-poor village in Northeast Wales, and rose to become the wife of an ambassador, the confidante of a queen, and the lover of the nation’s greatest hero. She ended her life with nothing, as well, dying impoverished in Calais. As the heroine of historical fiction, she is deeply fascinating to an author — as flawed as she was beautiful.”

Below are a few of the many paintings of Emma:

As you can see she was a beautiful woman and the muse of painter George Romney. It is no wonder Lord Nelson was devoted to her, up to the end of his life and had his wishes been honored, she would not have ended her own life in poverty abroad.

This trio of books make for very interesting reading, prompting you to look for more “clues” and information long after the story ends, and are my recommendations if you’ve caught the Richard III bug after the great discovery in Leicester.

To the Tower Born

by Robin Maxwell

BOOK DESCRIPTION

“In 1483, Edward and Richard of York—Edward, by law, already King of England—were placed, for their protection before Edward’s coronation, in the Tower of London by their uncle Richard. Within months the boys disappeared without a trace, and for the next five hundred years the despised Richard III was suspected of their heartless murders.”

In To the Tower Born, Robin Maxwell ingeniously imagines what might have happened to the missing princes. The great and terrible events that shaped a kingdom are viewed through the eyes of quick-witted Nell Caxton, only daughter of the first English printer, and her dearest friend, “Bessie,” sister to the lost boys and ultimate founder of the Tudor dynasty. It is a thrilling story brimming with mystery, color, and historical lore. With great bravery and heart, two friends navigate a dark and treacherous medieval landscape rendered more perilous by the era’s scheming, ambitious, even murderous men and women who will stop at nothing to possess the throne.

Figures in Silk

by Vanora Bennett

BOOK DESCRIPTION:

“This novel brings together the silk business of fifteenth-century London and the personality of King Richard III, suspected throughout history of having murdered his two nephews, the Princes in the Tower. The story begins with silk merchant John Lambert’s decision to marry off his two beautiful daughters at the end of the Wars of the Roses. Elder daughter Jane starts a notorious liaison with King Edward IV – Richard’s older brother – while her sister, Isabel, as the new silkworker to the court, becomes privy to its most intimate secrets. Could the sisters hold the keys to power at this time of uncertainty?”

Portrait of an Unknown Woman

by Vanora Bennett

BOOK DESCRIPTION

“It is 1527. The English Renaissance is in full swing under the young King Henry VIII. The young German painter Hans Holbein, who has come to London to seek his fortune, is delighted when he gets a commission to paint the family of Thomas More, one of England’s leading statesman and men of learning, at his country home in Chelsea. The story, seen through the eyes of More’s young ward Meg, is framed by the two portraits Holbein will paint of the family – the first when Thomas More is about to become Lord Chancellor and is at the peak of his powers, and the second, seven years later, after More has resigned his job in protest at the King’s decision to divorce his first wife, the Spanish Catholic Catherine of Aragon, and marry the Protestant Anne Boleyn. With disaster looming for the Mores, Holbein’s genius for truth-telling through his painting brings out all the family secrets in the second of the portraits.”

Edouard Manet is sometimes grouped in with the Impressionists of the late nineteenth century art movement, however he was more of a forerunner. Being a decade older than Claude Monet and his contemporaries, Manet’s style did set the tone for the change overcoming the art scene in Paris and with his friend Degas began the shift from Realism to Impressionism.

The term Impressionism was coined by a critic who realized the group of artists mostly turned away by the Salon de Paris had in fact founded an emerging new style. Those who were not accepted by the Salon, which was the most prominent and legitimate way to displaying one’s work, started the Salon des Refuses in 1863. Though some of Manet’s paintings were featured in the Salon de Paris, Luncheon on the Grass(featured below) was deemed too scandalous and was one of the main attractions at the Salon des Refuses. In fact it created so much controversy that it had to be guarded.

Though he supported the artists and their new style, he did not include himself in the title Impressionist. Like Monet he was from an upper-class bourgeoisie family and expected to follow in his father’s footsteps. Law did not interest him, however, and after failing to make a career in the Navy he took up painting with his father’s begrudged blessing. Manet was sometimes called flaneur, the ‘elegant Parisian stroller’ and did not experience the harsher living conditions of other artists of his time. He was very aware of his position in society and felt his ultimate goal was to have his paintings featured in the Salon de Paris.

Manet started on a white canvas using ‘sloppy’ brush strokes and sometimes focusing on more trivial objects, which the critics taunted. Though his works are mostly of everyday life, Manet also did religious and political works, portraits and landscapes. Below are a few of the 400+ paintings and sketches still existing today.

I first read of Manet in a novel titled Mademoiselle Victorine by Deborah Finerman. Though it has been years since I read it, it sticks in my mind because I have not read much from the era or of other artists in the fold. Unlike Stephanie Cowell’s Claude & Camille, there are not many descriptions of how and why the Impressionists formed, but more of the political themes of the day. The protagonist, Manet’s muse most famously known from the painting Olympia, became a courtesan to an important political figure. The author has a very nice website: Debra Finerman with more information on the novel.

In Claude & Camille you will meet a man who was supportive of Monet and the group of painters, but one who decidedly went his own way and did not court the label of the art movement he invariably started.

Sources:
Edouard Manet, The Complete Works
Impressionism by Phoebe Pool

Just days after the announcement that confirmed Richard III’s remains were found, I received this correspondence (purchased from a document seller on eBay) between Eleanor Hibbert (Jean Plaidy, Victoria Holt, Philippa Carr, Eleanor Burford, Elbur Ford, Kathleen Kellow, Ellalice Tate, Anna Percival) and a reader from the University of Illinois English Department on Jane Shore, and along with her a mention of “the enigmatical Richard III”.

This prompted me to compare my 1950 edition of The Goldsmith’s Wife with my 1979 edition, in which an Author’s Note had been added. Did this inquiry have anything to do with the curious addition to later printings? Re-reading the Author’s Note, it does not seem as though she had added any further thoughts relating to Mr. Harner’s questioning, though you can read it at the end of this post. It does, however, have much to do with Shakespeare’s version of Richard III, which is so much in the news right now.

The letter from Hibbert is typed on a thin pre-folded page that is made to seal and mail, and has a stamp with Queen Elizabeth II’s image and “Ninepence Postage”. There is one inserted word in ink and several places where a letter or part of a word were erased and typed over. I think this shows that while Hibbert was a perfectionist with her writing, she was more lax (though not sloppy or lazy) on personal correspondence, most likely due to the time restraints from her writing career. It is said that she answered all fan mail personally and did not employ a secretary.

The address, Hibbert’s penthouse opposite Hyde Park, is at Albert Court, Kensington Gore. Having never been to England, I am only able to visualize via maps and images online, but it looks to have been a building next to the Royal Albert Hall.

I am very surprised by Hibbert’s final words: “As for reviews, my books are rarely reviewed, particularly nowadays.” However, reviews in 1970 (at the time of this letter) were in the form of newspapers, periodicals and probably fan letters. Had she lived to see the age of the Internet, she would find generations of readers who still adore her and newly made fans every day, and a plethora of reviews.

I hope you enjoy this little glimpse into the author’s life as much as I have!

Dear Mrs. Hibbert,

I am presently at work on a study of the use of the Jane Shore theme in literature. A few days ago I came across a copy of your Goldsmith’s Wife which makes use of the legend; before this I had thought that the two books (one by Paget, the other by Thompson) which appeared in the 1930’s were the most recent treatment.

One chapter of my thesis will concern the appeal (in general terms) of the legend. Would it be too much of an imposition to ask how you became interested in writing about Jane Shore? I am particularly interested in what prompted you to write the book (whether it be a literacy source or whatever).

Also, I would be interested in reader reactions (perhaps in the form of letters to you about the book) to your treatment. I have not yet searched for reviews of the book—most of my research is still confined to the sixteenth century treatments.

I realize that I am imposing on your privacy, and I apologize. However, any information that you might find time to communicate would be gratefully appreciated.

Sincerely,
James L. Harner

Dear Mr Harner,

In answer to your queries about my book THE GOLDSMITH’S Wife I have always been interested in Jane, the only child of a mercer of Cheapside London, who not only became the mistress of a profligate king but kept her position until his death. She seemed an excellent subject for a book, and so I investigated and became more and more interested. It was not only Jane of course but the period itself which is so fascinating as she was surrounded by such significant figures. There is Edward himself; the affair of the princes in the Tower and the enigmatical Richard III.

I notice you refer to the ‘legend’. I wouldn’t call it that. There seems ample evidence that Jane actually lived; and she is listed in the Dictionary of National Biography.

I have now published about 45 historical novels and I get a constant stream of letters from readers. I don’t think this book has been singled out from the rest. As for reviews, my books are rarely reviewed, particularly nowadays.

I hope this information is of use to you.

Sincerely,
Eleanor Hibbert

MY REVIEW

The Goldsmith’s Wife

by Jean Plaidy

Jane Shore, notorious mistress of King Edward IV, is a refreshingly honest person. She is a beauty and knows her charms, but she is also very moral, but not overly religious. She always wants to do what she feels is right and stands by her convictions even at her own peril.

Jane unwillingly enters a marriage with one of her merchant father’s connections, a goldsmith named William Shore. She wanted to marry for love, but found being a young, wealthy and beautiful woman attracted too much attention from men who wanted other than honorable marriage. Running from a particular stalker, she thought she would be safe with a ring on her finger.

Marriage to Will was nothing like her romantic dreams and she found herself susceptible to the charms of other men. She soon came to the notice of the King and against her better judgment moved to court to play the role of favorite mistress. Never asking for anything for herself, she used her influence for the good of others and became a fast favorite of the people. She was even on friendly terms with the Queen, who was grateful King Edward had such a selfless mistress who didn’t get involved in politics or empty the royal coffers.

Near the end the story turns from Jane’s unfortunate fall from grace to the story of the Princes in the tower. I’ve read so many takes on this particular part of history and didn’t think I would be surprised, but Plaidy actually had a little spin on the conspiracy that I haven’t read before. It also seems very plausible.

I enjoyed Jane’s ending (as an old woman), even though it is different from what I’ve read before. Even Wikipedia has her ending her days with Thomas Lynom and the birth of a daughter. A book I read earlier this year, Figures in Silk, also had her marry Lynom and have a child. I do wonder why Jean Plaidy decided to write the story a bit differently, but I am not unhappy with the ending she created. It seemed to compliment the personality that she gave to Jane.

I really enjoyed this book very much and now count it as one of my favorite Plaidy novels.

AUTHOR’S NOTE

“It is unfortunate that Shakespeare’s play, Richard III, with its misstatements and distortions and exaggerated character-drawing of the central figure, should be generally accepted as history. But such is the case, so that if Richard is written about from any other angle an explanation seems advisable.

Handicapped as he was by living under Tudor rule, Shakespeare naturally dared not contradict the historians of the day, whose concern it was to vilify Richard in order to applaud the Tudor usurpation, and in so doing lay the blame for the foulest crimes of the period upon Richard.

Since the Tudors guiltily destroyed any state papers which might confound their falsehoods, it is not easy to discover the truth of what happened during Richard’s brief reign. The evidence obtainable has been sifted and analyzed, and I am sure that the fair-minded will agree that the picture of Richard as presented in The Goldsmith’s Wife is a balanced one.

As for Jane’s discovery of Anne Neville, that is entirely fictional. How Richard discovered his future wife is a mystery; but, taking into consideration Jane’s adventurous and warm-hearted nature, together with the fact that, owing to her upbringing in Cheapside, it is more likely that she, rather than any other at court, would have been in touch with the humbler citizens of London, my theory of Anne’s rescue seems plausible.“