Upcoming: “The Secret History of Wonder Woman” by Jill Lepore (Knopf)

LeporeJ-SecretHistoryOfWonderWomanI am a huge fan of Jill Lepore’s writing – both long-form and also her journalism and shorter pieces. A professor of American History at Harvard University (and a staff writer at The New Yorker), Lepore has written extensively about history and how we interpret, teach, and read the history of the United States. Last year, I read the paperback edition of The Story of America, which was easily one of the best books I read in 2013. Perhaps of more interest to the readers of Civilian Reader, though, her upcoming work is about the fan-favourite Amazon warrior from the Justice League: Wonder Woman. Due to be published on October 28th, 2014 by Knopf. Here’s the rather long synopsis:

Wonder Woman, created in 1941, is the most popular female superhero of all time. Aside from Superman and Batman, no superhero has lasted as long or commanded so vast and wildly passionate a following. In the more than seven decades since she first appeared, her comic books have never been out of print. In years of interviews and archival research, Harvard historian and New Yorker staff writer Jill Lepore has uncovered an astonishing trove of documents, including the never-before-seen private papers of William Moulton Marston, Wonder Woman’s creator. Lepore has discovered that, from Marston’s days as a Harvard undergraduate, he was influenced by early suffragists and feminists, starting with the British suffragist Emmeline Pankhurst, who was banned from speaking on campus in 1911, when Marston was a freshman. In the 1920s, Marston and his wife brought into their home, as Marston’s mistress, the niece of Margaret Sanger, one of the most influential figures of the twentieth century. The Marston family story – a house of one man, three women, and four children-is a story of drama, intrigue, and irony. In the 1930s, Marston and Sanger’s niece together wrote a regular column for Family Circle celebrating conventional family life, even as they pursued a life of extraordinary nonconformity. No less fascinating is Marston’s role as the inventor of the lie detector. Internationally known as an expert on truth, he lived a life of secrets-only to spill them on the pages of the Wonder Woman comics he began writing in 1941.

The Secret History of Wonder Woman is a tour-de-force of intellectual and cultural history, explaining not only the mysterious origins of the world’s most famous female superhero, but solving some of the most vexing puzzles in the American past. Wonder Woman, Lepore argues, is the missing link in the history of the struggle for women’s rights – a chain of events that begins with the women’s suffrage campaigns of the early 1900s and ends with the troubled place of feminism a century later.

Given how prominent the character has been in not only the comics and SFF communities (specifically the absence of plans for a Wonder Woman big-budget movie), but in pop-culture and gender studies communities, this is a very timely book. I’m really looking forward to this.

Manifest Destiny, Vol.1 (Skybound/Image)

ManifestDestiny-Vol.1An interesting beginning to an alternate history series

Writer: Chris Dingess | Artist: Matthew Roberts

In 1804, Captain Meriwether Lewis and Second Lieutenant William Clark set out from St. Louis, Missouri with the intent of blazing a trail to the western coast of North America – a trip that would set the foundation for the future of the United States of America.

But what the history books don’t tell you is the true purpose of Lewis and Clark’s journey to the west…

In this imaginative retelling of their famous trek, Lewis and Clark embark on a secret mission under direct orders from President Thomas Jefferson.

They are going to do more than explore the wild frontier: they’re going to catalog exotic life and eliminate the monsters that stand in the way of the safe and rapid expansion of the United States.

Collects: Manifest Destiny #1-6

As I’m sure I’ve mentioned on the blog before, I’m fascinated by American history, and particularly its early history. Not only that, I do rather like comics. This meant Manifest Destiny piqued my interest as soon as I read about it on the Image Comics’ website. I enjoyed this a lot and I think this is a great start to a new series.

The twist to Manifest Destiny is the idea that Lewis and Clark, while investigating the continental interior, came across a number of beasties and magical weirdness. And Dingess has written a great story to go along with that premise. Roberts’s artwork is great, too. The story moves pretty gently to begin with, but in the final couple of chapters the story really picks up – not to mention gets rather weird. Lewis and Clark do a great job of battling the strange, aggressive monsters they can swing a sword at, or shoot with a musket. At the same time, they have to contend with the troublesome crew, some of whom are along for the adventure as an alternative to harsh sentences.

Oh, and there are vegetative zombie-types, too. Which are genuinely creepy, and rather interestingly tied in to the idea of the spirit of the land. There is some gentle humour, some good action, and the beginnings of something that could grow into a pretty long-lasted series. I, for one, hope it does continue. I’ll be back for volume two.

If you have any interest in history, comics, a dash of weirdness, then Manifest Destiny will appeal. Definitely recommended.

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Single Issue Covers, Manifest Destiny #1-6

Short Review: THREE (Image Comics)

cover2_altWe are SPARTA!

Writer: Kieron Gillen | Artists: Ryan Kelly, and Jordie Bellaire

In ancient Sparta, three Helot slaves run for their lives.  Pursuing them are three hundred of their Spartan masters.

Collects: Three #1-5

This is a pretty interesting, short graphic novel. The artwork is fantastic, and the storytelling is extremely well-done. Not only have the writer and artist done their research, but the story just flows. After a massacre at a village, a rather mysterious ‘cripple’ and two companions find themselves hunted by an army of snubbed Spartans. Chased across the country, they must keep their trail as hidden as possible, placing their fates in the hands of the oh-so-fickle (not to mention absent) gods. This is a really good book.

I liked the way the history was portrayed. While I can’t say for certain if it is entirely accurate or not (as it is not my area), the book contains a discussion at the end by the creative team about how they went about recreating the time, society and country of the age. Really interesting extra. The Spartan society, in particular, is portrayed without the benefit of rose-tinted glasses (or, I suppose, the sepia ones of 300). They are blindly macho, fatally short-tempered, and arrogant in the extreme. Also, as we learn later, they are not at all above cheating to protect their honour and over-blown reputations…

Overall, this is a really good comic. The artwork throughout is great – vivid, colourful, clear and yet not too clean. The ending is not what I was expecting, but in a really good way. It’s brutal, but not gratuitously so. The action is driven by the story, rather than the other way around. The dialogue is realistic, as are the characters. If you have any interest in history, the Greeks, and so on, then you really should check out this book.

Highly recommended.

Theodore Roosevelt Responds to a Lampooning Review. Or, “This Probably Couldn’t Happen Today, on the Internet”

GoodwinDK-BullyPulpitUKAnyone who knows me, or perhaps anyone who reads my other blog, Politics Reader (yeah, I know, there’s a theme to the blog names), will undoubtedly have come across my interest in Theodore Roosevelt, his presidency and time. I am fascinated by the period of American history between (approx.) 1880 and the start of World War I. Given this interest, I devour pretty much any book I can get my hands on that focuses on that time and the people who shaped American history and politics then. At the moment, I’m reading Doris Kearns Goodwin’s excellent, exhaustively-researched The Bully Pulpit. The book is about Theodore Roosevelt, William Howard Taft and the media. Today, I came across an amusing passage, which I thought I would share, here.

First, some context. Theodore Roosevelt was US president from 1901-08, first ascending to the Presidency after the assassination of William McKinley. Alongside his storied career in public service, he was a prolific author – between 1882-1919, he had 45 books and collections (of essays and letters) published. Finley Peter Dunne was a writer and humourist from Chicago, who wrote the nationally syndicated “Mr. Dooley” satires and lampoons.

In the fall of 1899, a copy of The Rough Riders, Roosevelt’s wartime memoir, came across Dunne’s desk. “Mr. Dooley’s” book review in Harper’s Weekly mocked Roosevelt’s propensity for placing himself at the center of all action: “Tis Th’ Biography iv a Hero by Wan who Knows. Tis Th’ Darin’ Exploits iv a Brave Man be an Actual Eye Witness,” Mr. Dooley observed. “If I was him, I’d call th’ book, ‘Alone in Cubia.’” Three days after this satirical assessment amused readers across the country, Roosevelt wrote to Dunne: “I regret to state that my family and intimate friends are delighted with your review of my book. Now I think you owe me one; and I shall exact that when you next come east to pay me a visit. I have long wanted the chance of making your acquaintance.” (pp.257-8)

GoodwinDK-BullyPulpitUSThe full review is the first in Mr. Dooley’s Philosophy (which is available as a PDF online – pp.13-18). collected Dunne was clearly touched by Roosevelt’s letter, and in his reply to Roosevelt, accepting the invitation, he also said:

“… the way you took Mr. Dooley is a little discouraging. The number of persons who are worthwhile firing at is so small that as a matter of business I must regret the loss of one of them. Still if in losing a target I have, perhaps, gained a friend I am in after all.” (p.258)

Dunne never had to regret the loss of TR as a target, however. The reviewer continued to poke fun at TR (“the nation’s premiere target” as Goodwin calls him) for years to come, and the two remained friends throughout.

Today, when an author responds to a negative or critical review – especially on the internet – it never seems to go well for the author (see, for example, who-knows-how-many self-published authors lashing out at bloggers; or even the more recent, bizarre-and-quite-pathetic reaction to Ben Aaronovitch’s polite pointing out of a review’s factual misunderstanding). The above response and exchange between Dunne and Roosevelt… It could never happen today. Which is a real shame.

[I am currently reading The Bully Pulpit for review on Politics Reader. The book was provided by Goodwin’s UK publisher, Viking/Penguin. In the US, the book is published by Simon & Schuster.]

An Interview with GEOFFREY GUDGION

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Let’s start with an introduction: Geoff Gudgion?

In one paragraph; I was a scholarship boy who was never bright enough to realise I’d have been happier as a writer than a businessman. Until, that is, I had a spectacular row with my boss and stepped off the corporate ladder. Long before that epiphany, I left school at 17 to join the Royal Navy, who later sponsored me to read Geography at Cambridge University. Both experiences were formative in teaching me to string words together.

Your debut novel, Saxon’s Bane, is published by Solaris. How would you introduce the novel to a potential reader? Is it part of a series?

Saxon’s Bane is a thriller with a supernatural twist; past and present collide during the excavation of a Saxon warrior’s grave. The writing challenge, and the fun, was to interweave the present day with a Dark Ages legend, and to bring the two stories together in a plausible climax. Although it’s not part of a series, the main characters will probably reappear in a future book. There’s a fey, fit archaeologist who develops a preternatural understanding of her project. Her character has, ahem, legs.

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What inspired you to write the novel? And where do you draw your inspiration from in general?

I’ve always been fascinated by the history hidden in the landscape, ever since a crusty old professor at university showed me how to analyse English place names. “Allingley,” he might have said, waving a chalk-dusted arm and breathing a whiff of college port, “Saxon name. Aegl-ingas-leah, the clearing of Aegl’s people.” So I took the Saxon legend of Aegl, the warrior, and his love Olrun, the Swan Maiden, and set the Saxon’s Bane in the village of Allingley, on the banks of the Swanbourne.

Inspiration? It can come from anywhere. That sense of otherness you find in ancient woodland. A mossy ring of standing stones. A church. And just the odd glass of red wine.

Tolkien-LOTR-1-TheFellowshipOfTheRingHow were you introduced to genre fiction?

Tolkien! As a child, I devoured Lord of the Rings. I didn’t end up writing epic fantasy, but Middle Earth was the first believable fantasy world I encountered. I was enchanted!

How do you enjoy being a writer and working within the publishing industry? Do you have any specific working, writing, researching practices?

I love being a writer. I’m living the dream, but I’d say I’m still learning about the publishing industry, and about how to stand out from the crowd. It’s a bit like opening a door, thinking you’re joining a party in a room, only to find yourself in the middle of a football stadium where everyone is shouting.

I tend to write early, and research late in the day. I built an arbour in my garden, which is a wonderfully peaceful and productive place to write, when the weather’s good. It’s also out of reach of the Wi-Fi, so there are fewer distractions! If I have to work indoors, I play a recording of birdsong in my study. I find that helps to tune the brain into a creative space.

When did you realize you wanted to be an author, and what was your first foray into writing? Do you still look back on it fondly?

GudgionG-AuthorPicWhen I found I actually enjoyed English homework at school! I made my first attempts at writing a book during long deployments in warships. Those attempts were dire, and I cringe at their memory. The first piece of writing that made me proud was a short story, “Muse”, which won the Get Writing Conference prize in 2011. It’s on my web site.

What’s your opinion of the genre today, and where do you see your work fitting into it?

I think I’m too new to have an opinion about the genre, particularly when I think genre labels are too confining in any case. They seem to be designed for the publishing machine’s convenience rather than the readers’ benefit.

In terms of where I fit, I’m incredibly honoured when reviewers compare me to Robert Holdstock or Alan Garner. Last week Saxon’s Bane was described as “Good old fashioned mythic stuff; Wicker Man by way of John Fowles,” and I can live with that!

What other projects are you working on, and what do you have currently in the pipeline?

I’m about 80,000 words into a time-slip historical novel, also with a supernatural twist, which is set on a crumbling country estate that has been in the same family for over 600 years. In the 14th Century, the founder of the dynasty swears a terrible oath; in the present day his descendants have forgotten the oath, but perhaps the oath has not forgotten them…

What are you reading at the moment (fiction, non-fiction)?

My last book was Chocolat by Joanne Harris. I love her gentle way of weaving mystery and a little magic into the real world. I’m currently reading Bring Up The Bodies by Hilary Mantel. After that, I’m going to immerse myself into the 14th Century with Chaucer’s Canterbury Tales and Ian Mortimer’s brilliant Time Traveller’s Guide to Medieval England.

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What’s something readers might be surprised to learn about you?

I’m a bit of a lunatic on horseback. A good friend lets me ride a horse that I’ve known and loved for years. I can get stale staring at a screen, and the adrenalin-fuelled madness of a gallop, or the surge and soar over a jump, is the perfect antidote.

What are you most looking forward to in the next twelve months?

Seeing Saxon’s Bane take off, I hope. Then finishing the next book to a standard where it’s accepted by my agent (Ian Drury at Sheil Land). And within twelve months? Who knows, it’s not impossible for that book to be acquired by a publisher. My head is starting to buzz with ideas for the book that will follow, and I’d like those to be thoroughly fleshed out by this time next year, and taking shape on paper. No pressure, then.

Guest Post: “History & Riyria” by Michael J. Sullivan

Sullivan-RiyriaChronicles

Long-time readers of Civilian Reader will know that I’m a big fan of Michael Sullivan’s Riyria Revelations series (re-issued by Orbit Books in 2011-12). To celebrate the release of a prequel duology – The Crown Tower and The Rose and the Thorn – the author has penned this piece on the historical influences on his series, and the decisions he made on how to approach and incorporate these influences into his fantasy world and narrative.

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HISTORY & RIYRIA

A good deal of invented-world fantasy is based on history. While much of this may be due to writers imitating other authors who came before them, there is a very practical reason for this: familiarity. When creating a world you’d rather not do it from scratch. Even the best chefs have used frozen pie crusts or stock broth. It just saves so much time and effort and allows you to focus on the more important aspects – the story.

In fantasy you could rework everything. You could do away with leaders or councils and run anarchy. People might not need to eat or drink, but instead soak up sunlight to survive. Of course you might not have a sun either. Instead you might have geysers that emit vapors that must be absorbed. People in the new world might not believe in trade, everyone could subsist entirely on what they alone find or make, hence no economy. There might be no day and night cycle, no seasons, no linear time at all as we know it. There might be no sexes, or there might be five different ones and reproduction could require the coupling of at least three different participants. Anyone of these would be a lot for an author to explain through all of its inevitable ramifications, but all of them and all the others one would need to invent to establish a completely alien world entirely disassociated from our own would both consume massive investment of words and likely bore even the most patient reader to tears.

A good story with lousy worldbuilding is still a good story, and fantastic worldbuilding with a bad story is still a bad story.

As a result authors of invented-worlds like to use preconceived ideas already conveniently built in the minds of readers. Characters will use swords, bows, spears and shields, or flintlocks and powder kegs. No need to explain why or what they are. Day and night, summer and winter, years and hours, can all remain the same, because these basic building blocks aren’t worth altering unless that is the focus or theme of the story. Eighty percent common knowledge and twenty percent invented, and readers will have little problem jumping right in and enjoying this “alien” world you “created.”

History is also a great guide for such things as economic and political systems and also work as justification, guides, and proof of plausibility. When I was in art school a friend who was in the photography program scoffed at my efforts to painting still-life. “Why bother when you can just take a photo?” My response was that I wanted to be able to paint what couldn’t be seen, what he could never fit in his viewfinder. Before I could do that I had to master painting what was visible, so I could use that knowledge when I invented what wasn’t and still make it look just as believable. By utilizing the same rules of reflection, shadow, proportions and light, I lend credence to the incredible. This same idea applies just as assuredly to writing fiction.

When I first conceived of the Riyria Revelations, I did so while reading a college text book on Western Civilizations. I studied medieval and renaissance history, which threw off dozens of ideas that I jotted down. The missus dominicus – the agents of Charlemagne – became the basis for the sentinels in the world of Elan. Royce had some roots of his character grow out of a biography on Edward, the Black Prince of Wales. The Church of Novron and the monasteries of Maribor were inspired by the cradle-to-grave dominance of the Roman Catholic Church and the Benedictine and Franciscan orders. The Theorem Eldership came from the secret orders of knights such as the Knights Templar and the Illuminati. The lost empire of Novron was pulled from the Fall of Rome. The elves and dwarves were redefined from the Tolkien-esque tradition into something resembling the minorities of the Dark Ages. Dwarves who once long ago had their own homeland and kingdom were, in the time of Royce and Hadrian, universally disliked, distrusted, and forced into ghettos, but still sought for their uncanny skills. Jews faced similar problems in the post Roman era. In this way, the major themes of ancient life helped provide much of the framework, while the lesser known details provided inspiration for unique set pieces.

I didn’t stop there, however. I mixed and matched. Elan isn’t Earth, so I had no reason to limit myself unless I felt the need. For example, there are potatoes that historically came from the New World and were unknown in Medieval Europe. The same is true for tobacco. Sailing vessels were not at all like the great ships of the Age of Sail – the age of Nelson – but I liked the romance of a three mast ship plowing waves. I just excluded gunpowder and cannons. I loved the imagery and characterization that powdered wigs provided and so tossed those in, but kept armor and the joust from centuries earlier. I used modern military ranks because I wanted to avoid explanations of such basic concepts.

In total, I made specific and personal choices concerning what I would keep accurate and what I would change. There was no standard I followed beyond my personal taste of what I thought would make a wonderful reading experience. I wrote Revelations to be the sort of book I wanted to read, the sort of story I couldn’t find on any shelves. Equal parts realism, heroism, and simple prose so nothing stood between the reader and the story. I felt fantasy had begun taking itself too seriously and in its lofty goal of becoming a Genre Worthy of Respect, forgot the date that brought it to the dance. I felt too much of fantasy had left out the fun, the humor, the sheer blast of joy that comes from taking an arduous journey with someone you come to love and the sweaty fingers that turn the pages as they face the final showdown. This for me has always been the best of fantasy: not the worldbuilding, or the lessons in humanity, but the emotional blowout that for me, only fantasy – free of the baggage of the real world – can provide. This is what divided the books I carried with me, the ones I remembered fondly decades later, and those I forgot I ever read.

Regardless of whether fantasy is historically consistent, dark and cynical, or idyllic and heroic, all that matters is that the story and characters are good enough to make readers laugh, cry, and feel a terrible sense of loss after the last page is turned.

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Also on CR: Reviews of The Viscount and the Witch, Theft of Swords, Rise of Empire, and Heir of Novron; Interview with Michael J. Sullivan, Guest Post on Gritty vs. Heroic Fantasy 

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Riyria Revelations US

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Riyria Revelations UK

Excerpt: “The Tudors” by Peter Ackroyd (Macmillan)

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Something a little different, today. As I’m sure I’ve mentioned elsewhere on the blog, I’m a huge fan of history (if you also happen to follow Politics Reader, you will have seen that there, too). I studied medieval history at school, and have maintained a life-long interest in this period. So, I am very happy to share with you a short extract from the second volume of Peter Ackroyd’s exceptional History Of England, The Tudors (Macmillan).

Chapter I

HALLELUJAH

Ackroyd-HoE2-TheTudorsPBThe land was flowing with milk and honey. On 21 April 1509 the old king, having grown ever more harsh and rapacious, died in his palace at Richmond on the south bank of the Thames. The fact was kept secret for two days, so that the realm would not tremble. Yet the new Henry had already been proclaimed king. On 9 May the body of Henry VII was taken in a black chariot from Richmond Palace to St Paul’s Cathedral; the funeral car was attended by 1,400 formal mourners and 700 torch-bearers. But few, if any, grieved; the courtiers and household servants were already awaiting the son and heir. When the body, having been taken to the abbey of Westminster, after the funeral service was over, was lowered into its vault the heralds announced ‘le noble roy, Henri le Septie’me, est mort’. Then at once they cried out with one voice, ‘Vive le noble roy, Henri le Huitie’me ’. His title was undisputed, the first such easy succession in a century. The new king was in his seventeenth year.

Midsummer Day, 24 June, was chosen as the day of coronation. The sun in its splendour would herald the rising of another sun. It was just four days before his eighteenth birthday. The ceremony of the coronation was considered to be the eighth sacrament of the Church, in which Henry was anointed with chrism or holy oil as a token of sacred kingship. His robes were stiff with jewels, diamonds and rubies and emeralds and pearls, so that a glow or light hovered about him. He now radiated the power and the glory. He may have acted and dressed under advice, but he soon came to understand the theatre of magnificence.

Henry had taken the precaution, thirteen days before the coronation, of marrying his intended bride so that a king would be accompanied by a queen; it was thereby to be understood that he was an adult rather than a minor. Katherine of Aragon was the child of Isabella of Castile and Ferdinand of Aragon, in whose reign Spain was united. She had come from that country in order to marry Prince Arthur, Henry’s older brother, but events conspired against her. Arthur died less than six months after their wedding, of consumption or the sweating sickness, and Katherine was left at the English court in the unenviable position of a widow whose usefulness had gone. It was said that the king himself, Henry VII, might wish to marry her. But this was unthinkable. Instead she was betrothed to Prince Henry, and was consigned to some years of relative penury and privation at the hands of a difficult father-in-law who was in any case pursuing a better match for his son and heir. Yet, after seven years of waiting, her moment of apotheosis had come. On the day before the coronation she was taken in a litter from the Tower of London to Westminster, passing through streets draped in rich tapestry and cloth of gold. A contemporary woodcut depicts Henry and Katherine being crowned at the same time, surrounded by rank upon rank of bishops and senior clergy.

Henry’s early years had been spent in the shadow of an anxious and over-protective father, intent before anything else on securing the dynasty. The young prince never spoke in public, except in reply to questions from the king. He could leave the palace at Greenwich or at Eltham only under careful supervision, and then venture into the palace’s park through a private door. Much care was bestowed on his early education, so that he acquired the reputation of being the most learned of princes. Throughout his life he considered himself to be a great debater in matters of theology, fully steeped in the scholarship of Thomas Aquinas. He took an early delight in music, and composed Masses as well as songs and motets; he sang, and played both lute and keyboard. He had his own company of musicians who followed him wherever he walked, and by the time of his death he owned seventy-two flutes. He was the harmonious prince. Thomas More, in a poem celebrating the coronation, described him as the glory of the era. Surely he would inaugurate a new golden age in which all men of goodwill would flourish?

Henry was himself a golden youth, robust and good-looking. He was a little over 6 feet in height and, literally, towered over most of his subjects. It was written that ‘when he moves the ground shakes under him’. He excelled in wrestling and archery, hawking and jousting. Nine months after the coronation, he organized a tournament in which the feats of chivalry could be celebrated. He rode out in disguise, but his identity was soon discovered. He had read Malory as well as Aquinas, and knew well enough that a good king was a brave and aggressive king. You had to strike down your opponent with a lance or sword. You must not hesitate or draw back. It was a question of honour. The joust offered a taste of warfare, also, and the new king surrounded himself with young lords who enjoyed a good fight The noblemen of England were eager to stiffen the sinews and summon up the blood.

When he was not master of the joust, he was leader of the hunt. He spoke of his hunting expeditions for days afterwards, and he would eventually own a stable of 200 horses. Hunting was, and still is, the sport of kings. It was a form of war against an enemy, a battleground upon which speed and accuracy were essential. Henry would call out ‘Holla! Holla! So boy! There boy!’ When the stag was down, he would slit its throat and cut open its belly before thrusting his hands into its entrails; he would then daub his companions with its blood.

Older and more sedate men were also by his side. These were the royal councillors, the majority of whom had served under the previous king. The archbishop of Canterbury, William Warham, remained as chancellor. The bishop of Winchester, Richard Foxe, continued to serve as lord privy seal. The other senior bishops – of Durham, of Rochester and of Norwich – were also in place. The young king had to be advised and guided if the kingdom were to continue on its settled course. Whether he would accept that advice, and follow that guidance, was another matter.

The surviving members of the House of York were restored to favour, after they had endured the indifference and even hostility of the previous king. Henry VII had identified himself as the Lancastrian claimant to the throne. Even though he had married Elizabeth of York after his coronation, he was suspicious and resentful of the rival royal family. The essential unity of the realm was now being proclaimed after the dynastic struggles of the previous century.

The older councillors now took the opportunity of destroying some of the ‘new men’ whom Henry VII had promoted. His two most trusted advisers, or confidential clerks, were arrested and imprisoned. Sir Richard Empson and Sir Edmund Dudley had been associated with the previous king’s financial exactions, but they were in general resented and distrusted by the bishops and older nobility. They were charged with the unlikely crime of ‘constructive treason’ against the young king, and were duly executed. It is not at all clear that Henry played any part in what was essentially judicial murder, but his formal approval was still necessary. He would employ the same methods, for removing his enemies, in another period of his reign.

Henry was in any case of uncertain temper. He had the disposition of a king. He could be generous and magnanimous, but he was also self-willed and capricious. The Spanish ambassador had intimated to his master that ‘speaking frankly, the prince is not considered to be a genial person’. The French ambassador, at a later date, revealed that he could not enter the king’s presence without fear of personal violence.

An early outbreak of royal temper is suggestive. In the summer of 1509 a letter arrived from the French king, Louis XII, in reply to one purportedly sent by Henry in which the new king had requested peace and friendship. But Henry had not written it. It had been sent by the king’s council in his name. The youthful monarch then grew furious. ‘Who wrote this letter?’ he demanded. ‘I ask peace of the king of France, who dare not look me in the face, still less make war on me!’ His pride had been touched. He looked upon France as an ancient enemy. Only Calais remained of the dominion that the English kings had once enjoyed across the Channel. Henry was eager to claim back his ancient rights and, from the time of his coronation, he looked upon France as a prize to be taken. War was not only a pleasure; it was a dynastic duty.

Yet the pleasures of peace were still to be tasted. He had inherited a tranquil kingdom, as well as the store of treasure that his father had amassed. Henry VII bequeathed to him something in excess of £1,250,000, which may plausibly be translated to a contemporary fortune of approximately £380,000,000. It would soon all be dissipated, if not exactly squandered. It was rumoured that the young king was spending too much time on sports and entertainments, and was as a result neglecting the business of the realm. This need not be taken at face value. As the letter to the French king demonstrated, the learned bishops preferred their master to stay away from their serious deliberations.

There were in any case more immediate concerns. Katherine of Aragon had at the end of January 1510 gone into painful labour. The result was a girl, stillborn. Yet Katherine remained evidently pregnant with another child, and the preparations for a royal birth were continued. They were unnecessary. The swelling of her belly subsided, caused by infection rather than fruitfulness. It was announced that the queen had suffered a miscarriage, but it was rumoured that she was perhaps infertile. No greater doom could be delivered upon an English queen. She disproved the rumours when she gave birth to a son on the first day of 1511, but the infant died two months later. Katherine may have been deemed to be unlucky, but the king would eventually suspect something much worse than misfortune.

Henry had already strayed from the marriage bed. While Katherine was enduring the strains of her phantom pregnancy in the early months of 1510, he took comfort from the attentions of Anne Stafford. She was one of the queen’s ladies-in-waiting, and was already married. She was also a sister of the duke of Buckingham, and this great lord was sensitive of his family’s honour. Anne Stafford was sent to a nunnery, and Buckingham removed himself from court after an angry confrontation with the king. Katherine of Aragon was apprised of the affair and, naturally enough, took Buckingham’s part. She had been shamed by her husband’s infidelity with one of her own servants. The household was already full of deception and division. Other royal liaisons may have gone unrecorded. Mistress Amadas, the wife of the court goldsmith, later announced the fact that the king had come secretly to her in a Thames Street house owned by one of his principal courtiers.

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Peter Ackroyd’s The Tudors is out now.

Guest Post: “The Yesterday That Never Was” by Aidan Harte (Jo Fletcher Books)

Today, I bring you a guest post by Aidan Harte, author of the historical fantasies Irenicon and The Warring States. Here, he discusses how authors perceive and play around with the historical periods they can write in…

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THE YESTERDAY THAT NEVER WAS

AidanHarte-AuthorPicFantasy and Historical Fiction are in essence extreme forms of Travel Fiction. They take us to destinations that can’t be otherwise reached. Historical Fantasy is a hybrid for brave souls looking for untraveled paths in unmapped lands. Its terrain is more expansive than it was – as the world tilts, reorienting itself to an Eastern pole, the West is no longer the default setting.

Anyone writing Historical Fiction must accomplish two, unfortunately contradictory, things:

1. Immerse the reader in another era.

2. Keep him from drowning in it.

The same onus falls on the writer of Historical Fantasy but he has an extra challenge – after building a believable world, he must test it to breaking point by introducing unbelievable elements. Happily, that’s not as difficult as it sounds. Privately, each of us believes that everyone who died before we were born was a sucker. They don’t know what we know and we can never forgive them for it. Just as the untraveled believe absurdities of foreigners, we patronise to people imprisoned in the past’s dusty mausoleum in a way we’d never treat those lucky enough to cohabitate the same point in time and space as us.

All this is to say that the average reader, whatever he tells himself, really has no trouble believing that citizens of olden times were credulous as slow-witted children. Given that, the introduction of supernatural elements is a doddle. Dragons are only marginally less improbable than the Charleston. Our condescension is not altogether without wisdom. The fact is that people living in pre-scientific societies did not delimit the supernatural from the everyday as rigorously as we Moderns. The average medieval chap would be surprised to see a unicorn, but not nearly as much as you – I’m assuming that you’re not reading this blog from an explored tract of the Amazon.

ClarkeS-JonathanStrange&MrNorrellIn the end, the fantastical elements in any novel are distracting fireworks that count for little if the bedrock of character, plot and storytelling is absent or faulty. The art is to find an intellectual and emotional connection between the reader and the past. I’ve praised Jonathan Strange & Mr Norrell before, but some things bear repeating. Susanna Clarke inhabits her chosen milieu completely. Her infectious wit and generosity draws us helplessly in. The manner she treats the squabbling magicians bursting into Regency England as kindred spirits to the Romantic poets is inspired. It’s not the spells we remember so much as the awkward double act of Strange and Norrell, the noble manservant Stephen and the masterful Duke of Wellington.

That effortless marriage of voice and subject was a continuing inspiration for my Wave Trilogy, although the tone is very different. Irenicon and its sequel The Warring States are set in Etruria, an Alternate History Italy. The most challenging part of realising this medieval world was not creating the mysterious Waterfolk, or the flamboyant martial arts, or the baroque arch-villainy of Bernoulli. All that was pure imagination and came easy. What I really sweated over in the first book was rendering the conflict that was tearing the small town of Rasenna apart. It wasn’t that I lacked inspirational material; anyone perusing a history of medieval Italy will find conflict aplenty, but all the research in the world doesn’t help when you can’t see the living people underneath. You have to be able to smell their breath. It took me a while to understand why the Guelphs and Ghibellines keep quarrelling. The minutia of titles, dates and details obscured the human passions. The truth is that it wasn’t an abstract quarrel for primacy between the Holy See and the Holy Roman Empire that kept the city-states boiling. The factions’ banners were pretexts, vaporous as the shadow battles over “hinge issues” that animate the election years of our democracies. What was and is at issue was power. Who holds it. Who wants it. Once I realised that, realising the inherent drama was easier, though I still had work making a world of guilds, priests, contessas, and strange Italian names inviting to modern readers.

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This business of making readers at ease can be taken too far. The past remains another country. The average medieval person had views on morality that make the Taliban look easy going. Saints and relics occupied a space in 14th century Italy filled by iPads and smart phones today. I’ll buy just about any anachronistic mechanical contrivance in my Steam Punk novel, but nothing jars more than Victorian characters with the mores of 21st century hipsters. Why ever leave the sofa if we’re all the same?

We travel to experience the world’s variety but some contemporary authors, certainly those writing Literary Fiction, tip toe and genuflect around the issues of race, gender and age. This is patronising in a terrible new way. The joy of traveling is to see strange sights, people we’re not used to, smells that make us dizzy, flavours that make our tongues beg for mercy. Victorian authors, God bless their jodhpurs, had none of this pusillanimity. When Ryder Haggard had a yarn to spin, he waded into the unknown with aplomb – sensitivities be damned – and readers love him it.

FromHellThe sense of discovery is part of Historical Fantasy’s continuing appeal. It’s increasingly hard to imagine life Before Google, that benighted era we left behind in 1996. The world BG was a world where ignorance, speculation and rumour were the rule. The past is a place where the most fantastical things are routinely accepted. If an unmapped world could contain Australia and the Americas then why not unicorns and dragons too? The most ambitious Historical Fantasies pull us over the borders into the unknown. Peter Ackroyd (in Hawksmore) and Alan Moore (in From Hell) take the reader on tours of two very different Londons and make a convincing case that doers of dreadful deeds make their own reality. Cormac McCarthy’s Blood Meridian can be read as Historical Fantasy. Its setting is clearly the 1850’s Mexican borderlands but the villainous Judge Holden – polyglot, immortal, alchemist – is an ogre direct from the Grimm’s fairy tales. Or perhaps he’s just a flamboyant fraud. Or perhaps he’s a figment of the narrator’s imagination. McCarthy’s expansive, elusive prose allows for many interpretation.

At its best, Historical Fantasy pits its constituent parts – History and Fantasy – against each other. That inner tension, that vast uncertainty, is why we love it. Ultimately none of us are quite as sure of ourselves as we pretend to be. How pleasant to go somewhere now and again, where absolutely nothing is certain.

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Aidan Harte’s IRENICON and THE WARRING STATES are both out now, published by Jo Fletcher Books in the UK.

Also on CR: Interview with Aidan Harte, Excerpt of Irenicon

“Necessary Evil” by Ian Tregillis (Orbit/Tor)

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The masterful conclusion to the Milkweed Triptych

12 May 1940. Westminster, London, England: the early days of World War II. Again…

The history of the Twentieth Century has been shaped by a secret conflict between technology and magic. When a twisted Nazi scientist devised a way to imbue ordinary humans with supernatural abilities – to walk through walls, throw fire and see the future – his work became the prized possession of first the Third Reich, then the Soviet Army. Only Britain’s warlocks, and the dark magics they yield, have successfully countered the threat posed by these superhuman armies.

But for decades, this conflict has been manipulated by Gretel, the mad seer. And now her long plan has come to fruition. And with it, a danger vastly greater than anything the world has known. Now British Intelligence officer Raybould Marsh must make a last-ditch effort to change the course of history – if his nation, and those he loves, are to survive.

In the final book in Tregillis’s awesome Milkweed Triptych, superhumans and dark magic collide once again in a secret, supernatural history of early Twentieth Century. A series that has consistently impressed me, and improved with each book, Necessary Evil brings the story to a close with aplomb. This is a superb conclusion, and Tregillis has pulled it off, managing to tie everything up skillfully. And I almost cried at the end…

This is a very tricky review to write (I’ve said that a fair bit, recently, but it’s always true). Not only is this the final part of a trilogy, but it also features some time-travel, which for the first one-hundred pages or so messes about with events from book one and two. I don’t want to spoil anything for anyone, so I am going to deal very briefly with the plot, and then move on to general impressions.

The novel starts off with a brilliant prologue: it’s a summary of Gretel’s story thus-far, told in a strange disassociated-yet-intimate manner. It’s from Gretel’s perspective, and she talks about her powers and when they awoke, how she came to understand them, and gives us a very brief catch-up, without being clunky. Really excellent to start to the novel.

Raybould Marsh, one of Britain’s best spies, has travelled to an alternate timeline, in a desperate attempt to save at least one future from destruction at the hands of the Eidolons – creatures older than time, and pure evil. They have have been observing our species from space, and harbor an incandescent hatred for humanity. In order to accomplish his mission, Marsh must remove all traces of the Nazi’s “Willenskrafte” experiments, and the supermen that were created by the mad genius Dr. von Westarp.

Marsh’s biggest challenge, his bête-noir, is the mad seer Gretel, one of the most powerful of von Westarp’s “children”. A version of Gretel is in this timeline. She has seen all possible future timelines, and in every single one, she dies at the hands of the Eidolons, and she is determined that this will not come to pass, even if it means destroying most of humanity to save herself. Struggling with Gretel’s hidden agenda, his need to keep his true identity secret from those around him – including a younger version of himself, his mentor, his family, and his best friend – and also his single-minded desire to protect his family in this timeline, Marsh discovers that his mission could be too difficult to complete.

That’s all I’m going to say about the plot. Going into any more detail would just ruin so many surprises and innovative developments. As with Bitter Seeds and The Coldest War, I was hooked from the very beginning of the book. Everything about the novel worked for me: Tregillis’s excellent prose style, the steady pacing, the gripping narrative, and fascinating supernatural elements just worked for me. Most of all, though, the characters are all compelling, realistic, and nuanced. This is a superb series.

The various questions raised by the end of The Coldest War are all answered, and the remaining loose ends are likewise tied up. I loved the way the characters changed under the different circumstances – sometimes dramatically, as events that would have redeemed or damned them do not come to pass. It was very believable, but also showed that Tregillis had considered all angles. There are so many small details throughout the book (and series as a whole, actually) that help make the characters more-real, and the time more vivid.

Gretel is an absolutely fascinating character, and one of my favourites in any book or series: she is both star and villain; Machiavellian in the extreme and ultimately tragic. Her story is as important, and perhaps more compelling, than Marsh’s. Their connection, their polar-opposite feelings for each other, and their near-constant conflict is brilliant. As Marsh’s actions start messing with the timeline, Gretel’s powers of precognition start to break, sending her on a steady decline that understandably has a devastating impact on her psyche – this is best reflected in a handful of Interludes, told from Gretel’s perspective.

Ultimately, Tregillis brings the novel and series to a brilliant close. The ending of Necessary Evil is heart-wrenching, as we learn what happens to Marsh the Elder (I almost cried), but it feels right, given what’s come before.

The Milkweed Triptych is one of my all-time favourite series. It is a must-read. Very highly recommended.

Also on CR: “The Origin of the Götterelektron” by Ian Tregillis (Guest Post)

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Necessary Evil will be published in April in both the US (Tor) and UK (Orbit). Bitter Seeds and The Coldest War are available in stores now.

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UK / US Covers

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UK / US Covers