Castles, Customs, and Kings…

I may have the reputation of being a walking encyclopaedia, but I can assure you, there are shed-loads of things about which I know nothing.

Quantum physics for example.  Well, I can spell it.  But that’s about it.  And alchemy at the court of James VI and I.  I don’t know anything about that — and in the main I don’t wish to find out.  Not a fan of old James, me.  The fellow gives me the creeps.  I mean, think about it, all that drool…Blech.

But I do know about a lot of other stuff — otherwise refered to by my nearest and dearest as ‘little known facts of doubtful value…’

The only thing is…well, allegedly the detritus which litters my tiny grey cells does in fact have a value.  (I know!  Whoever would have thought it?)

But it’s true.  For this condition which has over the years been the source of much amusement, has now apparently made me the ideal choice as an editor for the soon-to-be published compendium, Castles, Customs, and Kings — which is a ‘best of’ collection of the first year’s worth of blogs on the increasingly popular English Historical Fiction Authors blog, a website on which, each day, an historical novelist (Barbara Kyle, Sandra Byrd, Nancy Bilyeau, and Judith Arnopp among them…) writes a bit about some of their research or historical events and people which interest them.

CastlesCustomsKings_cover.inddIt hits the shelves on the 23rd September 2013, this tome does, courtesy of Madison Street Publishing.

And I’ll tell you an interesting thing.  I’ve genuinely enjoyed editing it.  I’ve truly enjoyed renewing my acquaintance with the various periods of English and British history which are not my specialisms and with which I had sort of lost touch.

I’ve loved reading about mediaeval bathing and banqueting.  I’ve loved learning about different unknown to the world places in England and Wales.  I’ve been fascinated by the various individuals who have peopled this English stage over the centuries and I’ve loved how the authors have brought them to life for me.

(And yes, I am a contributing author of several essays as well as editor…)

Anyway.

The sections range from Roman Britain all the way up to World War II…yes, there are gaps, I suppose.

But whether your eye is fixed on the rival queens of Wars of the Roses or Jane Austen’s London or the languid Lady Mary of Downton Abbey — whether you just enjoy history or revel in historical fiction, this book, well…what I would hope is that readers would enjoy dipping in and out of the various periods of history by means of these essays, as much as I have.

Because these many authors have written engaging looks at the periods and places and people which drew them into the web of writing historical fiction in the first place, and they bring to their work a love and an enthusiasm which is just infectious and winning…and it’s all just made me appreciate more than I ever could have imagined this wonderful country in which I live, “this sceptre’d Isle, this England…”

Below is one of the first reviews we’ve received on Goodreads for the Advance Review Copy, and I can’t tell you how chuffed I am that our collective work has been so well received.

“Full disclosure: I received an advance copy and am writing this about 2/3 of the way through (I will update when I finish the book). I am also not a fan of historical fiction. I rarely read anything on the fiction shelf and even less of books that do not relate to royalty and the daily lives of their subjects across all eras and continents.

“I opened the book expecting to find something akin to a conference proceedings without “trained” experts. Instead I found a new appreciation for the meticulous research and knowledge of the genre’s authors.

“The book is divided into diverse subjects or historical periods. Each author has taken a topic and in a few pages given a succinct, well sourced overview. I find myself adding books to my wish list with every chapter. 

“The book itself first appears daunting in length. The short topic ‘chapters’ make it eady for on-the-go readers to read in small portions or even skip topics. The editors did a great job with transitions and order for each topic. Despite the length, there is no encyclopedia feel and each author’s voice is well preserved.

CastlesCustomsKings_cover.indd“This book is a scholarly treasure trove with a wide appeal. It covers everything from the first English word to the food (and recipes) served at a Tudor feast. If you are interested in nonfiction works on England, history, and/or royalty you will find a book that you will return to. Fans of historical fiction and England will find the book rich in supplemental information to complement their reading with an introduction to authors of works they might enjoy.”

So, the short and the long — I hope you’ll have a look at the new book, and I hope very much that you’ll enjoy it as much as we’ve enjoyed putting it together for you.

So there you go.  Looking for something to read?  This may just be the book for you.  Castles, Customs, and Kings…

Slainte!

The Chalice…

One of great shifts in historical perspective that has occurred over the past couple of decades has been in the manner in which we examine the past.  Or put another way, how our historical focus has moved away from a recitation of names and dates and kings and instead (or as well) sought to examine the lives of the greater population during a given period, learning what they ate, how they lived, about their businesses and trades and what those once-important dates meant to them.

But this trend of spreading our historical net out to encompass more than just the names and brief biographies of court celebrities isn’t one which seems to have penetrated the land of historical fiction–at least not when we’re confronted with the perennial publishing about that epoch of Dynasty in doublets, aka Tudor-ville.  If anything, it’s quite the opposite there.

HenryVIII-cIn the magical land of Tudor, the fictional microscope is perpetually locked on that priapic giant of 16th century majesty, Henry VIII, and his manifold happy and unhappy and/or dead women-folk.

I mean it’s great stuff, isn’t it–this linenfold court where we wallow in wimples and Pantene tresses clad in jewel-encrusted velvet?  Never has falling in love been so fatal! Nor being a noblewoman so unhealthy.

(And I’m not talking about the diet–though as anyone who has toured the kitchens at Hampton Court will tell you, that too presented its challenges).

And if there is anyone else visible in this overflowing Tudor petri dish, it’s someone or other from a half a dozen or so noble families–Howard or Boleyn or Seymour–all of whom were related to each other it seems (gene pool of four, I’m telling you!  It explains SO MUCH…) even as they did their level best to eliminate each other…

Yes, absolutely, Hilary Mantel has expanded our Tudor brief to include Thomas Cromwell and his ginormous land-grab, aka the Dissolution of the Monasteries, and perhaps through her work, the general public has seen beneath the facade of religious fervour to recognise that for Tudor princes and pawns, religion was just another name for a kind of savage political power-playing such as the world had scarcely known.

But still,  the focus remains squarely on Henry and his swaggering and sly-eyed henchmen and no one seems to ever see beyond the walls of Richmond Palace or Whitehall with their perpetual cast of about fifty courtiers, schemers and consorts.

Yet here’s the thing.  In 1540, the population of England stood roughly at three million.  So what about the other 2,999,950 people in the realm at the time?  What did they make of it all?  What happened to them?

The Dissolution of the Monasteries, the King’s divorce, his engagement with Reformist ideology, all of these things made the gravest impact on the lives of those 2,999,950.  The rulebook for life as they’d known it for a millennium had been torn up and thrown in the fire.

And then consider that in most places, the convents or monasteries were responsible were some 75% of the local economy.  So while the Dissolution may have been dandy for the King’s coffers, for the local populations…well, not so much.

But it’s not just a period of economic hardship and a loss of religious identity and purpose (plus all the pillage and burning of libraries and destruction of holy art), because for far too many thousands of English men and women, Henry put a wrecking ball through their hopes of a better life in the next world too, their hope of heaven–Hell on earth followed by an eternity of Hellfire.  It’s no wonder that far from the jewel-encrusted court with its marzipan monstrosities, people believed the days of the Apocalypse were surely upon them, and in many places a micro-industry of occult seers, prophets and mystic quacks grew up.

UKCoverThe ChaliceAnd this, this Tudor-totalitarian nightmare, is the world that Nancy Bilyeau conjures up in her latest novel, The Chalice.

Continuing with her story of Sister Joanna Stafford, once novice of the Dominican Order at the Dartford Priory, now just plain Joanna Stafford, The Chalice opens with Joanna now living modestly in Dartford, attempting to raise a young male relative, bent on starting her own tapestry business.  The Dissolution of the Monasteries had seen the destruction of her world and all that she held dear and she must needs start again–wonderfully, this might be a portrait of any of the thousands of dislodged and emotionally dislocated clergy trying to start life again in an increasingly hostile and riven world.

But Joanna’s familial relationship to many of those noble and ambitious clans (like the Howards) draws her back into the paths of royal plot and counter-plot with conspiracy lurking in every London corner and corridor.  Though she longs to return to the quiet-ish backwater of provincial Kent, she is caught up in a riptide of deceit, heresy, blackmail, and, ultimately, treason.  Eventually travelling to the Low Countries, Joanna encounters a maelstrom of political upheaval and bloody retribution which will forever mark her.

Tho. Howard, Duke of Norfolk by Holbein.  Contemporaries described him as "short and scrawny".

Tho. Howard, Duke of Norfolk by Holbein. Contemporaries described him as “short and scrawny”.

As ever, Bilyeau excels at drawing the characters of doubtful morals and duplicitous nature:  the self-serving, self-aggrandising Thomas Howard, Duke of Norfolk, the perfidious and avaricious Stephen Gardiner, Bishop of Winchester, the conniving Austrian diplomat Chapuys and his cutthroat underlings, even the townsfolk of Dartford who see their embrace of the Reformed religion as an opportunity for political and financial advancement…

The Tudor world as depicted by Bilyeau is nothing less than a seething viper’s nest of skin-crawling greed and corruption and a lust for power that borders on madness.

The narrator, Joanna Stafford, has deepened and matured too.  And although the challenges and emotional conflicts she faces are ever more severe, she brings to them a temperence of character–as in the tempering of steel.

Still narrated in first person, as in Bilyeau’s earlier novel, The Crown (which was shortlisted for the Ellis Peters Dagger Award), the writing is more confident and secure, the historical detail better, while the occasional drop-ins of description add deliciously to the novel’s lowering, tense atmosphere:  “Her skin was alabaster white; gleaming, yes, but devoid of any depth or subtlety to its glow, like an egg kept overlong in the cupboard.”

Or “…a barren forest, the snow clinging to naked branches like bandage strips on withered limbs.”  (Nice!)

Author Nancy Bilyeau

Author Nancy Bilyeau

A first novel is hard to write.  A second novel is infinitely harder–probably because one is meant to substantially improve on the first, in plot, in style and content and character.  Bilyeau passes these tests with her colours aloft, even as she weaves a vivid tapestry of those caught up in the ruptures and repercussions of Tudor England, explaining the era’s complex international relations with ease.

Her Chalice offers us skullduggery with depth, a tale tinged with a impermeable sadness over the lost lives of devotion, and a riveting read of a historical thriller.

~~~~~~~~~~~

UKCoverThe ChaliceThe Chalice by Nancy Bilyeau.  Orion Books, London.  438 pps.  28 February 2013.  £20.00/£12.99.

The Lion at Bay…

Let’s be totally clear here.  I am an absolute fool for beautiful language.

Actually, I go well beyond “fool”.  Indeed, it might be more accurate to describe me as careering into abject devotion territory.

I know, you thought that Shakespeare’s Sonnet 57, which begins, Being your slave, what should I do but tend/Upon the hours and times of your desire…was written for some female or other who might or might not have been called The Dark Lady.

But that’s where you’re wrong.  Because, in fact, it’s about me.

Yes, that’s right.  Shakespeare was writing about me, and my starry-eyed breathlessness and utter self-abnegating devotion to the sheer blissfulness of his poetry and language…

He was also writing about me and my relationship with John Donne–also on account of his poetry and language.  Ehem.

And he was writing about me and Gerard Manley Hopkins…and me and Sir Christopher Fry…and Sir Tom Stoppard…and Pierre de Ronsard…and Homer (the Iliad recited in Homeric Greek is one of the most resplendent works ever to be heard, I promise you)…and Sorley Maclean…and now, the historical novelist, Robert Low.

(Yes, I know he looks like Father Christmas…he might well be Father Christmas for all I know…this writing lark could be his day job, you never know…)

Let’s be clear about another thing, shall we?

I don’t–that is DO NOT–read novels set in the Middle Ages.  I just don’t.

And it’s not that they’re outside my comfort zone or something, it’s that they’re well within it because a long time ago, when camels ruled the earth and all that, I was a mediaevalist and spent my time studying things like the mediaeval European Economics and Anglo-Saxon open field farming and the rise of the guilds and the demographic changes wrought by the Black Death…that is, until I hit sensory and intellectual overload and said, “Nope.  Can’t stick this.  Not at any price.”

lionatbay2For Rob, however, I make an exception.  Because of the immaculate and exquisite artistry he brings to writing in the English language.  I can’t help myself.  I say this having just finished reading his superlative novel, The Lion at Bay–second in his sequence of historical novels about Robert the Bruce, entitled simply The Kingdom.

This is the third paragraph of the new work.  Listen to it.  Feel it.  See it.

The riders were dripping and miserable as old mud, the horses standing with their heads down, hipshot in a sea of tawny bracken and the clawed black roots of heather and furze, only the moss splashed a dazzle of green into the mirr.

Right, that’s it.  I’m his.  Wholly and unconditionally.  And I can no more walk away from this book or these visions of a Scotland, beautiful and rain-swept, riven by conflict–both personal and national–than I can walk away from an eclair au chocolat.  It is not going to happen.

(And if it didn’t make you swoon with the wonder and beauty and wet of it, well, you’re a heartless, soulless, poetryless, anti-literary  nincompetantpoop, and there is nothing I can do for you…)

But that was only the opening.  And that’s what gets me about this guy!  Because every page has at least one paragraph–usually two or three–where I have to stop and read it again, savour it in my mouth, hold it there, breathing through it, allowing its flavours to seep into my head like the finest old wine–I mean, honestly?  This is Chateau Lafite 1929 for the mind.

How about this for literary gorgeousness?

Steam from horses and riders blended with the fine gruel of churned up mud and snow in a sluggish mist that will filled with shouts and grunts and clashes of steel so that the men behind Bruce shifted their horses…Beyond the mud-frothed field loomed the great, dark snow-patched bulk of the castle, where ladies of the court watched from the comfort of a high tower, surrounded by charcoal braziers, swaddled in comforting furs and gloved, so that their applause would sound like the pat of mouse feet…

How beautiful is that in imagery?  In its cadences?  In invention?  In evoking the sounds?  The smells?  The atmosphere?

And so deliciously expressive in its use of language!  Fine gruel of churned up mud and snow in a sluggish mist…?  Mud-frothed field…?  How wondrous is that?

roberthebruceAnd yet, despite the marvel of his language, his artistry in depicting the people and the canvas that was mediaeval Scotland at its most ravaged and clan-torn, this is not lavender kid-glove historical fiction, to be peered at, refinedly, through one’s mother-of-pearl encrusted lorgnette.  For The Lion at Bay charts the period from 1304, between Robert Bruce’s tentative peace with Edward Longshanks–which temporarily halted the English ruination of Scotland–through the saddening decline of William Wallace’s band and his execution, Bruce’s hasty coronation and onto the death (whew!) of Longshanks himself.

It was a dark, terrible and savage time, and Low makes no excuses for depicting the reality of that period which forged the Scots nation and character.

Through a handful of fictional characters with whom one has bonded in quite a personal way in the previous novel, through them–Hal of Herdmanston, Dog-boy (my favourite!), Sim Craw, Kirkpatrick–Low enables the reader to see what they must have seen, to hear and to know, to experience their fears, their grim war-fatigue, their despairing longings for peace, their ruthlessness and vindictive  rage–against the English, against themselves, against their fellow Scots.

I will admit–at one point, I just had to stop reading for a bit.  The level of destruction wrought by the Scots upon each other as they sought to redress imagined and real slights to their honour and loyalties, was so relentless and hate-filled, that I, like Low’s characters, experienced a level of sinking battle-fatigue and loss.  That is fine story-telling!

Low’s depiction of the Bruce–surely the central character around whom all others revolved at this period of history–is masterful.  At once cunning and courageous, physically flawed, driven by doubt, by hubris, by rage, by honour, by glory.  Bruce is no Hollywood hero, but a fracturing and real individual, one whose longing for the crown and his determination to wear it has cost him (and his compatriots) more than he ever knew existed.   Truthfully, he takes my breath away.

As ever, Low’s attention to detail is a wonder–his knowledge of weaponry and warfare (and horses and people) an inspiration.  He is articulate and precise without ever being heavy-handed or pedantic.  Then too, I particularly appreciate his innate understanding of how vital religion and the religious controversies and politics of the day were to everyone.  He never ducks the issue for the sake of squirming by the political correctness brigade.

RobertLowTo the mediaeval Christian mind, especially to those who were bound by their vows as knights, there was no doubt in the truth or the sanctity of the Church’s teachings–doctrines which permeated the very landscape of the inner selves–their daily rituals, their thoughts, their speech defined in detail by the Church–even down to how they might or might not kill their enemy on the jousting field in God’s tourney.  And whilst, again, Low is not heavy-handed, he expertly fashion this world in which the Church was integral and powerful and the common expression of approbation, “Christ be praised!” was always followed by the response, “Forever and ever.”

But as ever, it is the glory of his language that rejoices the heart:  He heard distant laughter, a burst on the breeze, saw the red-flower flutter of flames and shrank away from it, crabbing towards the wall of the garth until the stones nudged his back…

Though Low writes of the barbarity and horror of civil war, of decency and devotion among the ashes and stones, the keening loss of the Scots for their lands and children, all of it, every last morsel of it is written with the pen of a lover and poet, transforming this most bitter of conflicts into a raw and savage beauty.

(Even if he does look like Father Christmas…in the event that Father Christmas wears beads in his beard.)

~~~~~~~

The Lion at Bay by Robert Low.  Harper Collins, London, 2012.  422 pps.  £14.99.

Turn of the Tide…

Today, I have a bit of a treat for you.  An interview with someone I’ve known for a while–Scottish author Margaret Skea.
 
Now the thing is, Margaret and I should have crossed paths when we were both students at the University of St. Andrews.  But we didn’t.  Mainly, I suspect, because Margaret was the very sensible kind of person who attended lectures and wrote her essays and did her work and was in all ways exemplary and charming, while I was…er…not. 
 
That is to say, I was more an idler and a shirker and a feckless scapegrace…
 
[Margaret has since confessed that she wasn’t swotting all the time–she was on the putting green.  The things one finds out…]
 
Ahem. 
 
And whilst she might have run into me inadvertently in Mrs. Whibley’s or in Pepita’s (fine establishments known for their excellent fudge gateau…) I am more than a little certain that had she known me or known of me at all, it would undoubtedly be as the owner of the rather spiffing little classic dark red 1967 Triumph (with a cherrywood dash and red leather seats–utter yum!) in which I zoomed about town…and out of town…and down to Edinburgh for luncheon and a wander in the National Gallery…
 
(What in heaven’s name ever possessed me to sell that car?  What was I thinking?  Honestly!)
 
But I digress.  Back to my rather superb guest today.  Because she is quite superb and she’s written a rather superb book in my humble estimation. 
 
MargaretSkeaI read it sometime ago and I’ll be honest, after twenty years as a book critic, I don’t genuinely like very much, but I liked Margaret’s book, then known as Munro’s Choice.  I enjoyed it.  Her prose was stark and spare and raw which suited the subject matter, conveying the whole mood of the work.  And very much I enjoyed the reality of the Scotland about which she wrote, which was the Scotland I knew and lived in, buffeted by the winds off the North Sea, fierce and beautiful and honest…with not a Disneyfied kilt-a-thon in sight.
 
Not only that, but I genuinely liked her protagonist, Munro.  I can’t really say what it is about him, but he just got under my skin and stayed with me.  And I truly appreciated the very real difficulties in which he was caught up and his efforts to do the right thing and remain true to himself and still protect his family…He’s just a really well-drawn character.  And I loved that about this book.  Just loved it. 
 
TurnoftheTideAnyway, many permutations and rewrites later (ha ha–don’t we all know that story) Turn of the Tide, as it was to be renamed, was Historical Fiction Winner in the Harper Collins /Alan Titchmarsh People’s Novelist Competition 2011.  And now, it’s just out, courtesy of Capercaillie Publishers…
 
So without further ado, here’s Margaret answering a few of my impertinent questions.
 
 First off, can you tell us a little about the novel?
 
“Turn of the Tide–described as a cinematic blend of fact and fiction set in 16th century Scotland–is essentially the story of a fictional family trapped in a real-life vendetta, which at the time the novel opens has been running for 140 years.
 
“It is about the difficulties and dilemmas of living with an ever-present danger, and the problems posed by divided loyalties and their impact on family, on relationships, and on personal integrity.

“Munro’s family have owed allegiance to the Cunninghames for more than 100 years and in 1586 he is commanded to lead the ambush and slaughter of a group of Montgomeries.  Though he escapes the bloody aftermath, he cannot escape his wife’s disdain or his own internal conflict, struggling with his conscience, with divided loyalties and, most dangerous of all, a growing friendship with the opposing faction.

“The action moves between the domestic setting of a minor laird and the court of James VI, peopled by characters across the spectrum of society – from a snotty-nosed urchin to the King himself.

The period of Scottish history in the novel may not be one readers are familiar with.  I mean, there are scads of books about Robert the Bruce, and heaps about the ’15 and ’45 Rebellions, but very little has been written about Scotland in the 16th century (with the exception of Dorothy Dunnett, of course), so can you tell us a bit about the political and social life of the times, give us a sense of what was going on in Scotland at the time?
 
FalklandPalace“The late 16th century is a fascinating period in Scotland’s history when every aspect of life–social, economic, political and religious, is on the cusp of change.  In some ways life then wasn’t so very different from our own.  Parliamentary records from the mid 16th century deal with issues such as binge drinking on the streets of Edinburgh, a credit crunch and pressures on Scottish trade.
 
JamesVI“But the years of James VI’s minority were characterized by lawlessness and the escalation of many of the centuries old feuds between clans and families.  In the Lowlands ‘reiving’–raiding a neighbour’s property, driving off all their livestock and burning their homes–was a seasonal pastime.

“The distinction between England and Scotland is illustrated by the domestic architecture of the day.  While wealthy Elizabethans are building elegant manor houses, with large, mullioned windows, surrounded by parkland, the socially equivalent Scots are still living in tower houses built in inaccessible places, and for protection rather than comfort, with gun loops, narrow windows, and secondary defensive iron grid doors.

 “James set out to subdue the earls, to raise up a ‘professional’ aristocracy from among the lairds and to promote a more settled and stable society.”

And what about this period intrigues you and keeps drawing you in?  Because let’s face it, writing a novel about a particular era requires that one is wholly engaged and almost mesmerised by it–it’s what keeps you going over the years of research and rewriting…

“This period of history intrigues me partly at least because it is my own story, as I am (or at least I think I am) a descendant of Scottish ‘planters’ who settled in Ulster in the early 17th century.  And partly because growing up in Ulster during the worst of the ‘Troubles’ I understand a little of living with ever-present danger–not expecting violent death, but knowing it might happen at any time.”

  
I’ll be honest, when I first read Turn of the Tide, many drafts ago, one of my favourite things–and I still love this and it’s stayed with me–is how genuine and real your main character, Munro was.  There is nothing false or cliché or stereotypical about him.  He’s just this real guy–okay, yes, a little bit macho–caught up in this political mess.  (I love that!)  How did you come by him?  Did he evolve for you?  Was he always there, just nagging to be written about? What?
 
“In my first draft the historical character Hugh Montgomery was the main character and Munro was merely a two-bit messenger boy, making a ‘cameo’ appearance at the beginning of Chapter 3, charged by the Earl of Glencairn with setting up an ambush.  70,000 words into the draft, James Long (Ferney / The Plot against Pepys) suggested that he would make a fantastic main character.   The following morning I ditched the 70,000 words and the two pages that remained became the opening of Turn of the Tide.

“It was hugely liberating to have a fictional rather than historic main character–one who could move between factions and provide a commentary on both.

“Of course it is a very different story from my original intention, but (I think) a better one.”

Outside of Scotland, there can be this generic view of Scottish history–my Scots son-in-law calls it MacScottish history–and they all talk with a MacScottish accent and there’s this image of castles and glens which is the Highlands or even the Western Isles…you know what I mean.  But it’s hardly the whole picture.  And you’re writing about the Lowlands too–so how was that different in the period of the novel?  And did writing about a Scotland which people think they know, but don’t really know, did that present any unusual challenges?
 
HallibarTower“There are no kilts and claymores here, so not the stereotypical Scots.  Their clothing and their weaponry, unlike the architecture, was closer to that of the north of England than to the Highlands, which made the process of research the more interesting.  Most of the minor castles which feature in this story no longer exist, but it was important to visit similar tower houses and experience at first hand what it would have been like to live there, summer and winter including small details, as, for example, what it felt like to run up a narrow spiral staircase, and just how much ‘puff’ that required.

“Research is an insidious thing–endlessly fascinating–the difficulty is to stop researching and start writing.  And sometimes you stumble across something that you know you just have to include in the story.  In my case that was a 16th century sketch of a ‘walking-stool’–virtually identical to the baby-walker I had for my children–except that it was made of wood and linen, rather than metal and plastic.”

 Without giving away any spoilers–what was your very favourite part of the novel?  What did you write and say about–if only to yourself, “That’s fantastic!  That’s good stuff.”  Equally, what was the hardest part of the writing for you?  The violence?  The ‘trying to keep the clan loyalties straight’ for the reader?  

“I can’t single out any one part of the novel either hardest or easiest to write, but I am proud of the sections dealing with horses and horse riding, for not being a rider myself, nor having had the courage to try, it was encouraging not to be shouted down for inaccuracies by those who do.

“And the most fulfilling moment?  Perhaps the one where what I was writing made me cry.”

And finally, can you quote a passage for us, one that you just feel is your work at its best–maybe a bit of setting or character building–the whet our appetites?

“On the Alan Titchmarsh Show we were given the task of choosing a 30 second extract to provide a flavour of the novel. Here is mine – introducing in 77 words, both hero and villain.

William Cunninghame turned, dark eyes sparking. He made no offer of his hand to Munro, not any attempt at ordinary courtesy.

“What kept you? The job is done?”

There was only one suitable answer. “She will provide the signal.”

“As she should. And willingly, I hope.”

Silence.

“She can be trusted?”

“Oh yes…” Munro thought of the last look with which Lady Margaret had dismissed him. “Your father is a dangerous man to cross. She understands that.”

The novel, Turn of the Tide, is now available from Amazon, from the Book Depository which offers free worldwide p&p, or check out the Facebook page: http://www.facebook.com/TurnoftheTide.Novel

And many thanks to Margaret for joining me today.  Slainte!

The Chymical Wedding

The Chymical Wedding by Lindsay Clarke.  Jonathan Cape, London 1989.  Alfred A. Knopf, New York 1989.  $19.95.  536 pps.

The intent of the ancient art of alchemy was the transmutation of base metal–lead–into purest gold.  An aberration of the gullible mediaeval mind, you say?  A quaintly arcane footnote to that ultimately superstitious chapter of history, the Middle Ages?  The Chymical Wedding bids one reconsider.

The alchemists maintained that even after ‘the Fall,’ a spark of the divine principle remained in humans; with diligent care and spiritual understanding that base metal–material man–could once again become spiritually whole and golden.  So powerful and transforming is Clarke’s novel that readers will find themselves venturing into the caverns of self-knowledge to rediscover that golden self.

And although Clarke refer to this work as a romance, which it is, The Chymical Wedding transcends the conventions of the genre.  It is at once historical fiction, a philosophical dialectic, a searing commentary on our nuclear age, and a novel of suspense, all of which the author spins out like the best mystery writer in the business.

Fleeing the morass of his crumbled marriage, poet Alex Darken seeks refuge and solace on the quiet depths of rural Norfolk, England.  There, he meets the acerbic, aging poet–Edward Nesbit, the inspiration of his youth–and the poet’s young American companion, Laura.  Intrigued by Laura, enraged and entranced by Nesbit, Darken is drawn from his cocoon of solitude.  He joins the couple in their research on the lives and lost secrets of a Victorian alchemist-poet, Sir Henry Agnew, and his daughter, Louisa Ann.

Paralleling this narrative, Clarke weaves a second in which he related the daily lives of Louisa Ann and her father–the very subject of Nesbit’s investigation.  Both father and daughter are engaged in writing about the Hermetic art of transmutation as a universal panacea.

Like reflex images, the two tales of The Chymical Wedding mirror each other.  Each narrative features a triangle of characters, the contemporary trio mirroring the historical in near perfect symmetry.

Nesbit tells Darken, “Of course, you’re feeling dazed.  Why should you not?  You’ve been struck by lightning after all.  It takes time to recognise that it’s a privilege to be singled out by the gods that way.”

And while the author pursues the innovative and novel, he does not overlook the refinements of what can only be called ‘beautiful style.’  Clarke restores the English and literary to English literature.  His prose is so luminous, so lush with imagery, that he often seems more poet than novelist.  His sentences have a cadence laden with assonance and alliteration.  There is a music to them which begs to be read aloud, to savour phrases as they echo in the ear.

“For a time that young woman had been at her window watching the clouds ferry the October light across the sky as though they were carriers of urgent news.  Except for the rise and fall of her breath she was still…Her dress was of grey silk, its sheen answering to the tilt of the evening light, across the lake, so that she was now little more than a marble’s shadow among shadows.

“For three days, since the month had changed, an easterly had fretted among the trees and would not back, but now she sensed a veering in the air, a softness where things had been gritty and bitter before…The wind gusted to rain beyond the casement.  It was as though the night were throwing small stones at the glass.”

Not since The Name of the Rose has a novel wedded theme and style with such a morally charged punch.  The Chymical Wedding received Britain’s prestigious Whitbread Book of the Year award for 1989. 

May Clarke’s lightning strike a second time.

[This review was first published in The Christian Science Monitor in 1989.]

The Challenge: Britain Against America in the Naval War of 1812…

This is a bit awkward. 

On the one hand, it’s fair to say that I would have done just about anything to have on hand the information that Andrew Lambert brings to light in the aforementioned tome when I was writing my May 1812

I would have sold…well, maybe not my soul, but quite probably any number of cakes and mousse au chocolat for the happiness of having all of these documents and accounts so clearly and beautifully laid out before me relating to the three-way trade wars between Napoleonic Europe, Great Britain and the young United States. 

Instead, I spent months piecing together the history of the various Napoleonic and British acts and the American reactions to them.  It was always a case of two lines in this history providing a little information, another small paragraph in another history…

But even if it’s too late for me to include some of the juicier elements in my work, Andrew Lambert has now, at last, most concisely and exhaustively pulled together all the various strands of this messy historic sampler.  And it makes for eye-popping reading. 

(It doesn’t leave many of the American leaders of the time on their pedestals though.  Nor does it paint a very edifying picture of the American press at the time.  Napoleon doesn’t come out very different though–though Lambert did make my day when he called him a ‘fraudster’.  That was a truly happy moment for self.)

But perhaps the greatest challenge to modern American readers will be that Lambert unequivocally proves that the United States did not win the War of 1812. 

They lost.  They achieved none of their alleged aims.  Neither did they attain any of their genuine goals.

What they did achieve was the destruction of New England’s economy, the bankruptcy of their federal government, the burning of the capital, Washington, mass unemployment, destitution and…and…and…

For those who don’t know, who haven’t heard me rant on the subject, the whole thing got started when Napoleon came up with the cunning plan to wage economic warfare on Great Britain.  This he believed would economically cripple Britain so that she could no longer subsidise Continental powers to fight against him, thus allowing him to take the place over.  Very clever, eh? 

So he issued these decrees known as the Berlin and Milan decrees of 1806 and 1807 which were his attempt to exclude all British goods as well as the British ships that carried those goods from any and all Continental ports and markets. 

This was great!  It was going to screw British maritime power to the wall.  They were going to crumble.  Super-dooper, bring me a trooper!  (Well, he may have said words to that effect…who knows?)

Yet strangely, the Brits didn’t think having their economy or their naval power ruined by an upstart Mushroom Corsican, as they liked to call him, was such a good idea.  Nor did Napoleon have a navy with which to enforce his little programme–he’d lost that (oops) at Trafalgar. 

So they retaliated.  With the Orders in Council.  Which declared that all goods carried to the Continent had to be carried in ships which held a license from Britain, etc.  And most importantly, they stepped up their maritime campaign of stopping neutral ships and searching for British seamen who’d decided it was safer to go AWOL than to serve in the Royal Navy.  Which, given that this was a time of war, was both desertion and treason. 

This then, ostensibly, was what the Americans got hepped up about.  And the battle cry rang out, “Free Trade and Sailors’ Rights!” Because it was mostly American ships they were stopping, which had, a hefty contingent of said British sailors…

And this is where Lambert’s work shines so brilliantly.  

For he demonstrates, beyond cavil, that this was really nothing but a political feint.  And it was a propaganda war from the get-go.  As he writes it, “Americans believed that large numbers of American-born sailors were being impressed.  In fact rather less than 10% of the American maritime workforce suffered this fate…A project to surrender all British sailors in American ships in return for the British ending the impressment of Americans was quietly dropped because half of all skilled seamen in American merchant ships were British.” 

President Jefferson was–he who headed off the American reaction to this economic war–as Lambert illustrates over and over again, fiercely Anglophobic and naively, determinedly Francophile.  He was putty in Napoleon’s Froggie hands.

He was also no economist.  He produced his response to the situation even before Congress had received notice of the British Orders in Council. 

And his cunning plan?  The Embargo Act which blocked the American export trade.  As Lambert says, “To punish Britain Jefferson made war on American merchants.  The results were disastrous:  economic hardship obliged American merchants and seafarers to smuggle…Jefferson hoped the Embargo Act would be a useful adjunct to Napoleon’s war against Britain, and that in return a grateful Emperor would give him the prize he really wanted, Spanish Florida.” 

But of course, the Emperor wasn’t playing. 

Yet as Lambert argues, “Jefferson’s futile Embargo had long antecedents:  in 1785 he had argued that America should follow the commercial policy of China ‘to practice neither commerce or navigation’.  He…never changed his view that American merchants were corrupt and corruptible.  He dreamt of an agricultural America…” 

And James Madison, his successor to the Presidency was just as blinkered. 

Though the Federal Government was kept afloat by the taxes and excise they collected from the New England states’ import/export businesses, to the tune of some 98%, in order to pursue their land-grab of Canada while Britain had all her troops otherwise occupied, they played into the hands of Napoleon, wrecked their own trade and economic viability and eventually were cozened into declaring war on Britain.

Lambert also puts on display the extreme bile Madison and his cronies pumped into a press too eager to play the jingoistic tunes of their politicians.  The accounts of the various naval actions–accounts which shew that British gunners were out-firing their American counterparts by 3-1–which actions were then twisted into triumphs…in a way, well, it makes for sickening reading. 

The lack of honesty or honour, the deceit on display is just…Truthfully, it’s a bit gutting.  I’d always thought that Jefferson was this visionary ‘liberty for all’ fellow, you know.  Brilliant with a quill.  With an eternally great way with words.  The most idealistic of the Enlightened thinkers.  An ingenious inventor. 

Professor Lambert has shown him to be the opposite–to be vindictive, vituperative, economically idiotic, predatory, and base.  Denying and lying about Napoleon’s tyrannical reign over Europe, sending gentle good men over to ‘negotiate’ with the monster, who obviously didn’t stick around to be negotiated with…

And the battles.  Holy wow! 

Of course, they’re written with all the verve and derring-do of a Patrick O’Brian clash at sea. 

But these were real men, and the actions pitted the professional seamen of the Royal Navy–men who drilled and drilled and worked hard at being the best in all weathers–against blaggarts and braggadocios, some brave, but too many who initiated actions against ships much, much smaller than themselves and then who crowed victory and lied about the disparity in size. 

And when they really were outgunned and outmanoeuvred and outfought, such as when the HMS Shannon took the USS Chesapeake in one of the bloodiest actions of any naval war on 1 June 1813–in 13 minutes, the American press invented scapegoats and declared it a victory anyway.

The whole unfoldment of action which led to the burning of the capital makes for pretty gob-smacking reading too.  There’s always been this prim, self-righteous shock and horror professed over those meanie Brits who came and burned (can you imagine anything so demonic, so savage?) the charming, innocent, delightful little American capital. 

(Forgive me if I’m sounding sarky here.) 

But hang on a minute, one wants to say to Madison and his mates.  This was war.  You declared it on Britain.  Did you think it’d be a picnic?  A riparian entertainment with sparklers? 

Did you miss the part about there being a world war on?  Did Jefferson, in his Francophile gushing, not notice that one of the methods of military engagement was the occupation [and destruction] of the enemy’s capital?  Such as Napoleon did to Berlin.  And Vienna.  And Madrid.  And Moscow.  Or did he fail to read those parts of the news bulletins?  

And what happened really? 

It had needed only 4000 troops to capture the American capital and torch the various public buildings, including the White House and the Navy Yard, as Lambert says, “revealing the unimaginable folly of a government that deliberately picked a fight with a global power, allegedly about questions of principle, without bothering to raise an army or navy capable of defending the country.  By 1814 the only effective American armies were attempting to conquer Canada.”     

The war whimpered to a close in 1814 with the American negotiators quietly dropping all the demands for which they’d allegedly gone to war.  They just wanted out.  They couldn’t afford any more of it.  And Napoleon hadn’t won in Russia as they’d hoped he would.  In fact, he’d lost all of his Empire and been forced to abdicate. (Ouch.)

So, they stopped whinging about British deserters being removed from American ships, etc.  They stopped sending troops up to take Canada–they changed their song from we’ll get Canada and land, land, land, to isn’t it great we haven’t lost any territory…that kind of thing. 

At this point, I’m probably just babbling. 

What can I tell you?  Lambert has simply blown me out of the water with his searing account of this disastrous American war which they’ve somehow blagged into an iconic victory over a 19th century superpower.   

And there are so many reasons for recommending this book that I can only gawp at the sheer number of them.  So all I can honestly say is:  Buy it.  Read it.  Wonder at it.  Andrew Lambert’s The Challenge.  It really is that good.

A spiffing review for Of Honest Fame…

Righto.  This was going to be a blog about something completely different.  Only now it’s not. 

Now it’s a link to a review of Of Honest Fame that just come in and, although maybe you’d think me past getting misty-eyed or sentimental about a review at this point, well, that would be wrong. 

Because this time, the reviewer really loved the book and loved the characters…and that truly means a great deal to me. 

I’ve been called an ingenue recently for just such sentiments.  (I know.  I just made you spit tea on your laptop–sorry about that.) 

But honestly, you know, if engaging with one’s readers and their hearts makes me an ingenue, then long may I remain one.  (Sadly I expect it’s more a case of ‘when were you ever an ingenue?’) 

Anyway, have a read of the review.  I’m chuffed to bits over it.  And truly delighted that I’ve brought someone to love historical fiction and the history as much as I do…And the reviewer–well, she’s just a perfect poppet, she is.

In Praise of Book Critics ~ the proper ones…

A few days ago, I was reminded of these lines from a novel by Patrick O’Brian, lines so deliciously wonderful, I knew I had to pick up the book and treat myself to a full wallow in O’Brian’s unerring use of language and perception:  “Just how big is she?  I mean,” he added, seeing the look of deep stupidity in Stephen’s face, “what does she displace?  What is her tonnage?  What does she weigh?” 

Not just stupidity, but deep stupidity.  It’s too uncannily accurate for comfort.  I love it that O’Brian is not above telling the truth about his characters.

But whilst carrying about this novel, upstairs and down, as I tickle my way through it, I happened to notice this quotation on the back cover, by Richard Snow of the NYTimes:  “On every page he [O’Brian] reminds us with subtle artistry of the most important of all historical lessons:  that times change, but people don’t, that the griefs and follies and victories of the men and women who were here before us are in fact the maps of our own lives.” 

Holy wow, I thought.  Must read that again! 

For is not that the summation of what great historical fiction can and should achieve?  Crikey!  I think I must blazon that on my forehead or somesuch useful place.

But then, you know, I started poking at the other critical excerpts on the back and inside back of the book and I found these:

Mary Renault wrote, “He does not just have the chief qualifications of a first-class historical novelist, he has them all.”

A.S. Byatt wrote, “What is so gripping about O’Brian’s novels is the completeness with which he invents a world which is our own and not our own…”

William Waldegrave wrote, “O’Brian has shown us that in our literary silver age, authentic gold can still be mined…He is a man whose books you would dare to give to Sterne; whose conversation would have delighted Coleridge.  It is his misfortune, but our great good luck, that he is our contemporary, and not theirs.”

Max Hastings wrote, “While his stories of men at war, he is a novelist of great gentleness of spirit.  A pervasive serenity, a generosity towards human frailty, are among the qualities which have made his books irresistible…”

Geoffrey Hodgson wrote, “The harmony between setting, character, narrative and method achieves an extraordinary power and intensity of emotion without ever betraying the slightest sign of effort.  It is a story that does not so much speak as sing, with the haunting purity of the ancient rhapsode or the bard, yet in a voice as modern and direct as today’s newspaper.” 

Note those names, if you will.  Byatt, Renault, Waldegrave…These are top writers, top intellectuals, top thinkers of the last and present centuries. 

And these are the quality of individuals who used to write book reviews.  These are they upon whom we used to rely to read and analyse and understand new novels, and then bring their extra-ordinary gifts of literary erudition and breadth of experience to the reviewing of them. 

Reading their reviews was an education in itself and a glorious one.  It was a daily treat of throwing open the windows of one’s mind on a daily basis to the wonders of language and intellectual achievement. 

What do we get now when we peer hopefully at the Books pages in any national newspaper or review site?  “I liked it.”  Well, that’s broadened my intellectual horizons.  Not.

Or we’re given an 80-word precis of the plot–preferably four per article in a round-up of historical fiction…And that tells us precisely what? 

Something that we couldn’t have worked out ourselves by reading the blurb?  (Nor is a precis a ‘review’, because it doesn’t re-view anything.)

Are any of the reviewers nowadays even capable of analysing style, tone, metaphor, imagery?  Do they themselves know how to put together a well-balanced sentence, let alone paragraph?  Do they know the writers’ art of weighing the language and forming it into a whole world?  And if not, how can they possibly discern or judge the literary merits or demerits of the works they’re intended to review? 

There is a consensus that our literary standards have slipped in the last few decades.  Many cite the plethora of self-published e-books as proof of this, pointing out the pervasive lack of proper editing and even proof-reading alongside the more worrying weaknesses of any proper grasp of plot or character development or literary style.  I can’t disagree. 

Yet surely those who complain the loudest–the broadsheet old-school newspapers–are just as culpable in this cultural slide toward mediocrity.  Instead of reviewing books as they ought, as they used to, they pander to the modern diseases of celebritocracy and lobotomocracy. 

The new books, the new novels, the new writers and old writers (I use the word in its strictest meaning and do not include ghost-written tripe in my definition)–writers of genius or not-genius–cannot get column space. 

There is no praise and certainly no eloquent praise as written above for those novels which raise the bar, which set a new standard, which re-engage the readers with the map of their own history, to borrow the wording above.  And rather than review the books that fail to meet a standard and demonstrating why a given work falls down, our Books editors just don’t bother. 

They’re always lamenting the loss of literary achievement and historical knowledge–yet do they do nothing to rescue or even ameliorate the situation.

The Daily Telegraph has recently treated us to a repetitive round-up of their favourite Dickens’ characters.  They’re on favourite character number 26 now.  Oh joy!  Oh rapture!  Throw spaghetti!  Perhaps the dozy twit who edits the Book page would like to offer Baseball cards with their pictures as well? 

(Forgive me, but I already did my time with O-Level English, dearie.) 

(Or, on another variation on a theme, they cram the Books pages with reviews of the latest television version of a book.  God give me strength…)

Because, you see, this is the problem.  The fact is good books and good reviewers can’t get page space these days.  At all.  Even the big publishers (never mind the medium-sized or indies) can’t get their books reviewed… 

The Books editors may maintain that people don’t want the intellectual challenge of a great reviewer–but that’s just a nonsense.  The fact is, they can’t be asked to find them, or to pay them.  Or to shuffle through the thousands of books they’re sent and find some likely ones and assign them to reviewers.  (What?  Would it be too much like hard work?)

And because of it, because of this complacent, idle, fatuous attitude towards the greatest invention of mankind–the book–that medium of one person’s thoughts straight into the thoughts of another, the most intimate relationship there can ever be, with no third party involved–everyone is impoverished.  But most of all, the future generation…

The Crown by Nancy Bilyeau…

The Crown by Nancy Bilyeau.  Orion Publishing Group.  London, 2012.  416 pps.  £18.99, hardcover; £12.99, paperback.

Sister Joan Stafford is a novice of the Dominican order at Dartford Priory in Kent.  And that should make an end of the matter. 

But the year is 1537.  Henry VIII is on the throne, having severed England’s ties with Rome (and Anne Boleyn’s head), and sent an army to Yorkshire to quell a pro-Catholic uprising amid the moral chaos and rampant destruction of the dissolution of the monasteries and convents. 

And this army which crushed to the Northern Rebellion was led by none other than Sister Joanna’s cousin, the Duke of Norfolk.  Worse still, among the rebels captured and condemned to be burnt for treason is another cousin, Lady Margaret Bulmer. 

(Families, eh?)

Defying her order, driven by her lifelong affection for Margaret, Sister Joanna leaves the secure confines of the Priory and makes her way to London that she may offer her devout prayers for her cousin on the scaffold.  And that’s where things go pear-shaped.

Assaulted by the drunken crowd out for a day’s entertainment, Joanna is rescued by a constable, only to meet with her disgraced father who is also there on a mission to ease Lady Bulmer’s martyrdom.  Soon all three of them are locked in the Tower, and not for safe-keeping.  There, Joanna is abused there by her violent cousin, Norfolk (the same Norfolk who destroyed her cousin’s life), and then left for months to moulder. 

Eventually, she is brought for questioning to the quasi-disgraced, oleaginous Stephen Gardiner, Bishop of Winchester; and offered a choice–find a sacred relic which is believed to be hidden at Dartford Priory, a crown of antiquity and divine powers of protection, or her father–like her, still incarcerated–will be racked to death. 

(The Tudors were skilled at that sort of thing:  blackmail, torture…)

It is no choice. 

Thus, knowing next to nothing, Joanna returns to Dartford in the company of two now-homeless Dominican Friars to begin her feverish search for this sacred relic, desperate to discover its history, its powers, its hiding place.  (And she doesn’t have much time).  In so doing she uncovers more secrets than she bargained for, even as all about them, Henry’s malevolent henchmen are breaking previous royal promises of protection and destroying the nuns’ lives of prayer and sacred dedication.

Sound exciting?  Eventful?  Well, it is.  (Fasten your seatbelt.)

Written as a first-person narrative, The Crown follows in a fine tradition of historical mysteries, ably blending the tension of the thriller with the horror of historical reality in one of England’s most turbulent periods.  And after a slightly sluggish start as Bilyeau sets the scene and maps out the family geography–absolutely everyone is related to everyone else in Tudor history (a gene pool of four–explains everything, doesn’t it?)–the action takes off. 

And the pace doesn’t slacken as the mystery and confusion surrounding the crown and the Priory itself deepens, as friends and allies vanish and the political landscape grows daily more perilous. 

One of the novel’s great strengths is the unflinching depiction of the violent men who peopled Henry VIII’s court and did his bidding.  Bilyeau shines when she writes of the schemers and power-brokers like the brutal Norfolk or the manipulative Gardiner–men so consumed by greed and lust for power that nothing is sacred to them.  Anything or anyone that stands in the way of their own aggrandisement will be crushed with the utmost inhumanity and casual cruelty.  In Bilyeau’s hands, these men are truly sinister, and with Sister Joanna, one recoils at the breath of their vicious rages, their twisted amorality and sadistic destructiveness.

Bilyeau is also adept at capturing the spirit of an age still wholly in thrall to superstition–Henry’s obsession with having a male heir (was it as he believed the judgement of God upon his kingship?), the fears that gripped his courtiers about the power of holy relics and signs from heaven. 

The monasteries and convents were, of course, all dissolved and destroyed by Henry VIII and their wealth shared out by him and his minions.  This process is well underway by the novel’s close in 1538.  

Yet seen through the eyes of Sister Joanna, told in her voice, this recitation of facts has been given a human face and we feel the personal cost and private tragedy of all those quiet and unassuming lives of prayer upended by a king’s political whim.  And that’s quite an achievement–as well as being a ripping good mystery!  (Though not, thank heavens, of the bodice-variety.  The heroine’s a nun, remember?)

The Crown is on sale now from The Book Depository with free worldwide shipping.

Viscount Castlereagh, Sorley Maclean and the January glums…

Of late, I’ve been a complete git.  A foul-tempered grumbletonian.  And morose.  (Though I can’t decide if I want to sit in a corner and sulk, or if I’d prefer to thunk my head against the wall over the limitations of my pea-brained intellect.)

Because here’s the thing.  I’ve been reading Castlereagh: Enlightenment, War and Tyranny, John Bew’s new and rather fine biography of Viscount Castlereagh, the Foreign Secretary from 1812-1822the man whom Andrew Roberts called “perhaps the greatest of all Britain’s foreign secretaries”.

(Yes, yes, the thing’s the size of a doorstop for woolly mammoths.  But I like books that fat, they’ve got some meat to ’em.)

And I’m now more than half way through…thus well into his lordship’s stint as Foreign Secretary in 1812–my personal comfort zone, you might say–during the final push to oust Napoleon from power in Europe.

But what’s striking me on page after page is just how much I don’t know.  How much I haven’t really considered or thought through.  How many connexions I hadn’t before seen.

Now normally, I don’t mind that.  In fact, I relish it.  I love having my eyes opened so that I see and understand.  (Though in the case of Lord Castlereagh, it’s not because of any lack of effort on my part.)

I’ve read several of the previous biographies of the fellow–sometimes more than once–as well as various histories of the Congress of Vienna and works about foreign policy and I’ve used them as reference when writing.  I’ve read some of his letters and his speeches given in Parliament too.

I’ve read the newspaper accounts of everything he did and said when the Prime Minister was assassinated.

And still, there is so much I don’t know.  And that vexes me.  Because I want to understand.

Now a great deal of this is down to the general ignorance about the fellow.  Castlereagh lived and worked in a world where truth in newspapers didn’t matter so much (if at all) and the radical press was vituperative, blood-thirsty and venomous.  There were few, if any, checks.  (So it’s been interesting to be reading this while the Leveson inquiry into the abuses of the Press are going on in London.)

Castlereagh lived in an age when Parliamentary discourse–for want of a better term–was often the most scurrilous and vitriolic abuse.  Unprintable stuff, much of it.

And Bew, bless him, spends much of his page-space separating out the lies, the packs and packs of ’em, wading through the criticism and countering it with facts, especially with excerpts from his lordship’s vast correspondence.  (The fellow wrote letters much as I drink cups of tea.)  Though there are also many revealing letters from his brother, Charles Stewart, too.

And what emerges from these pages is not the insular Irishman cum Englishman, unfamiliar with Continental developments and out of his depth with the wily Europeans, nor the corrupt or cold minister loathed and despised by those with Jacobin/radical agendas.

What’s emerging is this soft-spoken (though he did have an Irish slur when he spoke) affable though reserved, genuinely thoughtful, highly intellectual fellow who spoke and voted with his conscience as much as possible–a moderate man who eschewed all the extreme points of view while he worked step by step for the betterment of his fellows.  A loyal friend.  A devoted husband and elder brother.

Unlike that view promulgated by the radicals and his loud-mouthed political enemies, Castlereagh was a reader, especially of Scottish and French Enlightenment authors, and his study floor in St. James’s Square was littered with books, French books, novels by Edgeworth and Rousseau, and international newspapers.

He’d been in France as a young man in 1791 as the French Revolution was really getting underway and what he’d seen concerned him, though he was no Edmund Burke.  And he was once again on the Continent, in 1792, when he remained in Holland as the news of the September Massacres was hitting the headlines, stunning the world with details of a Paris gone mad and revelling in scenes of the most unthinkable torture and atrocity.

He was on the headland at Bantry Bay in Ireland, when the raging gales and blizzard conditions prevented a French army of more than 40,000 troops from landing and bringing the French Revolution to Ireland.

He was in power too as atrocities committed by those devoted to French Jacobin ideals spread across Ireland–slaughter which reads like something out of the Serbian war or the civil war in Rwanda.

It’s no wonder that he never ceased in his fight against French domination of the Continent.  It’s no wonder that he never stopped working for Catholic Emancipation.  It’s no wonder that he stood against radical extremism and Jacobinism in every form–he’d seen how its call to sacrifice everything for political ideals turned into a programme of extermination for anyone who held a differing point of view.

(It’s occurred to me many times in the course of reading this biography how little we understand the horrors of the French Revolution today.  How easily we dismiss it as if it were no more than a ripple in time, of little import, when in fact to minimise it and its effect on Europe and those who lived through it, would be like laughing off Pol Pot’s murderous regime in Cambodia, or dismissing the Bolshevik Revolution as child’s play–incidentally, the French Reign of Terror provided the template for both Lenin and Pol Pot…)

But this, I fancy, is what really winds me up:  Here was this man, this titan of thoughtful, incisive international policy who saved not just Britain’s but Europe’s backside… (Did I mention Castlereagh reorganised the army too, so that Wellington would have the troops and supplies he needed when he needed them?)  And I hate, hate, hate seeing  him trivialised and dropped into novels as though he were a male Regency version of Paris Hilton.

Yet what I hate even more is that as hard as I tried to capture him in both my previous novels–the suavity of his manners, his habitual courtesy, his refusal to meet invective with invective, his wry and self-mocking sense of humour, his love of music and his absolute devotion to his friends and family–all alongside his towering intellect–I’m not convinced I managed it.  Not truly.  Not as I would have been able to had this work been published five years earlier.  I worked like the clappers at it, but I couldn’t do enough, not nearly enough to bring him fully alive on the page.

And that depresses me no end.

(If I have any complaint about Mr. Bew’s work is that there’s not enough of it.  Even at 587 pages of text, I think he’s just scratched the surface.  And I want to know more.  Details, Mr. Bew, details.  Lots of ’em.  So, Mr. Bew, if you’re reading this–how about an expanded two-volume biography on the fellow?  Because I want to be able to understand the pattern of his days as Foreign Secretary, you see, and you haven’t touched on the matter of international espionage at all either…)

Anyway…at the same time…I’ve been reading the Selected Poems of Sorley Maclean, the great 20th century Scots poet.  And I came across this, (this is the English translation from the Scots Gaelic) which made me think, well…perhaps…I shouldn’t give up just yet…

Dogs and Wolves

Across eternity, across its snows
I see my unwritten poems,
I see the spoor of their paws dappling
the untroubled whiteness of the snow:
bristles raging, bloody-tongued,
lean greyhounds and wolves
leaping over the tops of the dykes,
running under the shade of the trees of the wilderness
taking the defile of narrow glens,
making for the steepness of windy mountains;
their baying yell shrieking
across the hard barenesses of the terrible times,
their everylasting barking in my ears,
their onrush seizing my mind:
career of wolves and eerie dogs
swift in pursuit of the quarry,
through the forests without veering,
over the mountain tops without sheering;
the mild mad dogs of poetry,
wolves in chase of beauty,
beauty of soul and face,
a white deer over hills and plains,
the deer of your gentle beloved beauty,
a hunt without halt, without respite.