From my blog...

HNS Conference 2015

The 2015 Historical Novel Society Conference took place in Denver this past weekend, and I want to record a few memories before I surge back into the 11th century.

Writers’ conferences are all about connecting and engaging with other writers, about handshakes and hugs, so of course I began the conference by arming myself with a sword.

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A small number of David Blixt’s arms.

Actor, author, fight choreographer David Blixt conducted 2 sword fighting workshops on Friday. I attended the broadsword session, which began with a vigorous performance of the final scene in Macbeth.

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Author, actor, fight choreographer David Blixt as Macbeth.

Before my body I throw my warlike shield. Lay on, Macduff,
And damned be him that first cries “Hold, enough!”

David and his fight partner Brandon were sweating when the scene was finished, and they had their audience in the palms of their hands.

“Write a sword scene like a sex scene,” David advised, “and a sex scene like a sword scene. It’s all about desire and denial, about character and personal stakes. Make the reader gasp.” Excellent advice, eloquently expressed.

In sparring with my assigned partner, the stage-trained Gillian Bagwell, I discovered that although I had a height advantage, she was taking larger steps as she moved forward, closing the distance (rather uncomfortably) between my body and the edge of her sword. Luckily we’re good friends. I would hate to spar with someone who held a grudge against me!

Lunch with Margaret George, Lesley Carroll and Gillian Bagwell was a gab fest about shoes, gowns, and writing historical fiction, not necessarily in that order.

Guest Speaker C. C. Humphreys

Guest Speaker C. C. Humphreys

The guest speaker at the opening night dinner was C.C. Humphreys, another actor and writer, whom I’d seen last at the San Diego conference in 2011 with, ironically, a sword in his hand. He was armed this time with words alone, words that alternately amused and inspired and captivated us. He was one of many, many writers there that I wanted to stuff in my suitcase and bring home with me.

My dinner partner that night was the remarkable Barbara Peters, owner of the Poisoned Pen Bookstore and Poisoned Pen Press in Phoenix. What Barbara doesn’t know about publishing isn’t worth knowing. She’s read about a zillion novels (and remembers them all) and has met as many novelists. She is a marvelous raconteur. There were no table-wide conversations simply because it was absolutely impossible, in a room filled with over 400 people, to hear anyone but the person beside you. Chris Cevasco had his camera, though, and snapped away. Thank you, Chris!

With Barbara Peters of Poisoned Pen Bookstore & Author Robert Rath

With Barbara Peters of Poisoned Pen Bookstore & Author Robert Rath

The nitty gritty business took place on Saturday, with numerous panels to choose from interspersed with quiet time for chance meetings in the lobbies or bookstore: writers, bloggers, readers – all of us a bit star struck when the chance came to talk to an author we admire. (My tongue always sticks to the roof of my mouth whenever I get within 3 feet of Diana Gabaldon.)

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Withe two of the most brilliant & generous women of my acquaintance – Margaret George & Diana Gabaldon.

Hopeful newby writers waited nervously for their appointments to pitch to an agent or editor (that was me back in 2009), and were often seen walking several feet off the ground afterwards.

A panel on The Gender Divide with C.W. Gortner, C.C. Humphreys, Stephanie Dray, David Blixt and Vicky Alvear Shecter had me wanting to jump up and join their conversation.

Vickey Alvear Shecter, C. W. Gortner, C. C. Humphreys, Stephanie Dray & David Blixt on The Gender Divide

Vickey Alvear Shecter, C. W. Gortner, C. C. Humphreys, Stephanie Dray & David Blixt on The Gender Divide

C.C. Humphreys’ time trip to Elizabethan London was absolutely delightful and filled with tidbits about the Tudor world that he’s discovered in his research. Next up was a session on Midwifery with Sam Thomas, Lisa Yarde, Kim Rendfeld and Judith Starkston, moderated by Diana Gabaldon (who knows a little something about this topic as well). Bottom line: be glad you didn’t give birth any time before 1950, and especially in the 13th century b.c. There was this practice, you see, that involved swinging a ewe….

Sam Thomas, Lisa Yarde, Kim Rendfeld, Judith Starkston & Diana Gabaldon: Midwifery

Sam Thomas, Lisa Yarde, Kim Rendfeld, Judith Starkston & Diana Gabaldon: Midwifery

Our lunchtime speaker was YA novelist Karen Cushman whose Newbery Award winning novel Catherine, Called Birdy I’d read and loved a decade ago. What a thrill to discover, in a brief, post-luncheon conversation, that she is one of Emma’s fans. Our heroines, I think, have many of the same qualities.

Karen Cushman. Photo Credit: C. Cevasco

Karen Cushman. Photo Credit: C. Cevasco

My own panel, Making It Relevant & Making It Real: Writing Historical Fiction That Speaks to 21st Century Readers, went smoothly. How could it not when our moderator was Gillian Bagwell and the panelists with me were best selling authors C.W. Gortner and Margaret George?

With Margaret George & C. W. Gortner. Thanks to C.W. Gortner for the photo.

With Margaret George & C. W. Gortner. Thanks to C.W. Gortner for the photo.

I hope we were informative and helpful, as well as entertaining. We had an SRO audience of attentive listeners, and I saw a great deal of nodding as the three of us spoke to the topic at hand.

The audience for Making It Relevant & Making It Real

The audience for Making It Relevant & Making It Real

If anyone is wondering, we’d been planning this panel for months, giving it a great deal of thought as we came up with questions and answers that we felt would be enlightening to our listeners.

This was followed by a 2-hour book-signing event.

You can see what a wild crush the book signing was! Photo: Mark Wiederanders

You can see what a wild crush the book signing was! Photo: Mark Wiederanders

The book signing was followed by a banquet, an awards ceremony, the costume show and the traditional Saturday Night Sex Scene Readings. The ever-charming Diana Gabaldon regaled us, too, with a brief talk about options, tv shows, the rise of histfic, and Sam Heughen. (I had to list Diana at the end there so I could include an image of Sam as Jamie Fraser, just because.)

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Sam Heughan as Jamie Fraser. Photo credit: outlander-online.com

Last, but not least, the belle of the conference was my friend, critique partner and room-mate for the weekend, Gillian Bagwell. She scripted and emceed the Costume Show and, believe me, she suffered for the sake of beauty. That wig! Here she is, front and back. She rustled when she walked.

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Gillian Bagwell as Joan, Lady Rivers.

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Joan, Lady Rivers posterior. Lovely both front & back.

Next year’s conference will be in Oxford, UK. Start Planning Now.

The Bodleian, University of Oxford

The Bodleian, University of Oxford

Posted in Books, Events, Inspiration | Tagged , , , , | 6 Comments

Surviving Despite the Odds: The Bayeux Tapestry

BayeuxShipThe Bayeux Tapestry, as you probably know, is not a tapestry. It’s an embroidery that tells the story of the Battle of Hastings and of the events leading up to it. The Tapestry is 224 feet long and roughly 18 inches high. It consists of 9 strips of bleached linen that are sewn together and embroidered with colored wools. It is damaged in places, and a final panel is missing, yet the fact that this textile from the late 11th century exists at all is something of a miracle.

Bishop Odo

Bishop Odo

The first 400 years of the Tapestry’s provenance are a bit of a mystery. Most scholars now believe that it was embroidered in England and that sometime before 1087 it was carried to Bayeux, Normandy among the possessions of its patron Bishop Odo (William the Conqueror’s half-brother). It’s very likely that it was hung in the Bayeux cathedral nave on special occasions, and kept in storage when not in use. If so, it survived Bayeux’s destruction when Henry I torched it in 1106, escaped a devastating cathedral fire in 1159, and survived Bayeux’s destruction by Edward III in 1335. Already it seems to have had a charmed existence, although how it lost that final panel is anybody’s guess.

Nave of Bayeux Cathedral. Photo: Dennis Jarvis

Nave of Bayeux Cathedral. Photo: Dennis Jarvis (Wikimedia Commons)

The tapestry is mentioned for the first time in a 1476 inventory of the cathedral’s treasures which describes “a very long and very narrow strip of linen embroidered with figures and inscriptions representing the Conquest of England”. It was kept with other textiles in the cathedral vestry which, in 1562, was ransacked when French Calvinists attacked the cathedral. They murdered priests, smashed windows, and stole or destroyed centuries-old treasures including precious textiles and items of gold and silver. Somehow, they overlooked the tapestry. Was it ignored because there were no gold or silver threads in it? Or had it been moved to some safe, hidden place? Another mystery. Another close escape.

During the French Revolution, when all church property was nationalized, a Monuments Commission was formed, and ecclesiastical treasures that were not taken to national or local depots were lost or destroyed. The Tapestry once again was spared, coming under the jurisdiction of Bayeux’s Municipal Council. However, in 1792, the Council in its wisdom approved a request by a local military battalion to use the Tapestry to cover their equipment wagons as they made a 350 mile trek south to Meux. Luckily a local administrator convinced the soldiers to use sacking to protect their cargo instead of one of France’s greatest treasures, and he spirited the Tapestry to his office for safekeeping.

Two years later, when a plan in Bayeux surfaced to cut up the Tapestry and decorate a carnival float with it, the new Commission for the Arts said no.

Bayeux Cathedral. Photo Credit: James Wooley

Bayeux Cathedral. Photo Credit: James Wooley Wikimedia Commons)

Tapisserie de Bayeux - Scène 23 : Harold prête serment à Guillaume

Duke William of Normandy.

By this time the Tapestry was recognized as a valuable historical artifact, and throughout the 19th century efforts were made to study it, draw it, repair it, conserve it and properly display it. But dangerous times lay ahead. When France was invaded by German troops during the Franco-Prussian War the Tapestry was packed into a protective zinc cylinder and safely hidden away. By 1939 it had its own bomb shelter, but that did not protect it from Himmler’s Ahnenerbe (Ancestral Heritage) team when the Germans occupied France. The Tapestry was displayed privately one evening for elite Wehrmacht and SS officers before it was turned over to a research team that spent a month examining and photographing it. Eventually it was transported 120 miles south to the basement of the Chateau de Sourches near LeMans where it remained for most of the war.

And now we enter the realm of films like Monuments Men and The Imitation Game. Really!

In the spring of 1944, with northern France under heavy Allied bombardment, Himmler began making plans to bring the Tapestry to Germany. The first step would be to move it to Paris, but even before he could order the transfer, the Allied invasion of Normandy had begun.

The Norman Fleet

The Norman Fleet

On June 8 Bayeux was liberated, and within a week Captain LaFarge of the Allies’ Monuments, Fine Arts and Archives division had set up his headquarters there. But the war wasn’t over yet. In early July, per Himmler’s orders, Gestapo officers removed the Tapestry from Sourches and escorted it to the Louvre.

Earl Harold

Earl Harold

By mid-August, 1944, the Allies were approaching Paris. On August 18 the team at Bletchley Park in England intercepted a radio message from Himmler to the head of the Gestapo in France ordering him to remove the Tapestry to ‘a place of safety’ – presumably closer to the German heartland. On August 22 a team of SS men tried to do just that, but the Louvre was already occupied by Allied troops and the SS men couldn’t get to it. On August 25, Paris was liberated.

The mayor of Bayeux immediately sent a request to Captain LaFarge asking that the Tapestry be returned to Bayeux from Sourches. He didn’t know that it had already been moved to Paris, and one has to wonder if there wasn’t a panic until Captain LaFarge learned that the Tapestry was in the Louvre. Despite the wishes of the mayor of Bayeux, it remained in the Louvre for a time, on exhibit for five weeks. The Tapestry was finally returned to Bayeux in March, 1945. It’s there now. You can see it, behind glass, in its own special gallery, safe and well protected.

Today's Tapestry Museum. Photo Credit: Dennis Jarvis

Today’s Tapestry Museum. Photo Credit: Dennis Jarvis (Wikimedia Commons)

Textiles do not age well. Rarely do they withstand the ravages of time, light, air, mold, and insects. That this work of art has survived for a thousand years, giving us a glimpse into such a significant historical event as well as into the minds of those who lived through it, is nothing short of astonishing.

Source: Lewis, Michael J. The Real World of the Bayeux Tapestry. The History Press, Stroud, Gloucestershire, UK, 2008.

Photo Credits: Wikimedia Commons

Bayeux Tapestry Feline

A Cat. The Bayeux Tapestry.

Posted in Anglo-Saxons, Art, Bayeux Tapestry, History, Normandy, Research | Tagged , , , , , | Leave a comment

5 May 1010: The Battle of Ringmere

Battle Abbey, preparing for war.On 5 May in the year 1010, a great battle was fought between the Anglo-Saxons and the Danes at a place in East Anglia called Ringmere. In the fall of 2012, as part of the research for my novel The Price of Blood, I went with my husband to East Anglia to see for myself where that battle took place.

DSCN1256Ringmere wasn’t easy to find. Pre-Conquest battle sites may be marked on occasion, but even the people living nearby are sometimes unaware of the events that took place there a thousand years ago. (This is understandable. They live in the present. If you were to ask me about my own neighborhood – Oakland – and what it was like even 200 years ago, I could only shrug and say, “There were probably more oaks then.”)

Making fire, West StowThe staff at the marvelous Anglo-Saxon archaeological museum at West Stow, who knew all about the rye, reeds, wheat and heather that the Anglo-Saxons used for roof thatching, and who could explain that when building their houses they pounded square pegs into round holes because they were a tighter fit, looked at me blankly when I asked about Ringmere. By that time it was late afternoon, so we gave up on finding the battlefield for that day and went in search of our hotel in Attleborough. Ringmere would have to wait until I could pinpoint it on the internet.

Overnight, a thick fog settled over East Anglia, and it was still heavy as we drove the next morning along narrow lanes toward the spot I had marked on the map as Ringmere. We parked the car on the side of the road and climbed out to have a look around.

Ringmere3In 1010 the Anglo-Saxon army led by the king’s son-in-law, Ulfkytel, was still gathering at Ringmere when the Danes launched a surprise attack. Standing in the same place a thousand years later, my vision impaired by the sullen fog, it was easy to imagine an enemy army suddenly appearing out of the mist to the horrified surprise of the defenders.

Stretching around me to north, south and east, flat wasteland was studded with rabbit warrens. A stand of trees stood on the western edge of the heath, and beyond that, out of sight, lay the circular lake that gave this place its name. There was no way of knowing if it looked exactly like this in 1010, but there must have been a space not unlike this, wide and flat enough to hold thousands of warriors.

Ringmere2As I walked the heath I wondered if somewhere beneath my feet the detritus of battle still lay undiscovered – broken weapons, the bosses from long-rotted wooden shields, the bones of the dead. It made me sad and a little awestruck to be standing in a place marked by such a violent history. For all I knew, some of my own ancestors may have fought here and had managed to escape the carnage. They may even have been on both sides of the shield wall.

In The Price of Blood I did not describe Ringmere Heath or the battle that took place there, only scenes that came before it, from the Vikings’ point of view . . .

“Ulfkytel will not have his full force until late in May,” Cnut said with a slow smile, “which means that we can strike first, and with a much larger force.”
“Ulfkytel is someone to be feared, my lord. He led his East Anglians against the Danes once before and nearly won.”
“Nearly will not be good enough,” Cnut said, “and we will have the advantage of surprise as well as numbers.”

… and scenes that came afterwards, from the Anglo-Saxon point of view . . .

“The king cursed poor Ulfkytel for losing that battle up at Ringmere. Swore that our sister was wasted on an East Anglian who didn’t have the sense to die when he lost his battle; even threatened to take Ælfa back and give her to someone else.”

When it came to the battle itself, I let the Anglo-Saxon Chronicle speak for me:

This year came the (Viking) army, after Easter, into East Anglia…where they understood Ulfkytel was with his army. The East-Angles soon fled. Cambridgeshire stood firm against them. There was slain Oswy and his son, and Wulfric, son of Leofwin, and Edwy, brother of Efy, and many good thanes, and a multitude of people…And the Danes remained masters of the field of slaughter.

The field of slaughter. What a visceral reminder of the harsh realities of war and of the terrible events that were played out so many centuries ago on this lonely heath that the Anglo-Saxons named Ringmere.
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Posted in Anglo-Saxons, History, Inspiration, Research, UK, Vikings | Tagged , , , , , , , | 4 Comments

Æthelred II – the Haunted King

King Æthelred II, from The Life of King Edward the Confessor. 13th c. Cambridge University Library

King Æthelred II, from The Life of King Edward the Confssor. 13th c. Cambridge University Library (Wikimedia Commons)

On 23 April 1016, King Æthelred II died in London. He was about 50 years old, and he’d ruled England for 38 years. At his death he’d not yet been given the byname, Unræd, (ill-counseled, a play on the Old English meaning of his name, æthel ræd – noble counsel). That would come some years later. Eventually Unræd would be corrupted into Unready, and he would be known as Æthelred the Unready for centuries. As the bynames suggest, his reputation has been anything but enviable:

“His life is said to have been cruel at the outset, pitiable in mid-course, and disgraceful in its ending.” William of Malmesbury, History of the  English Kings, 12th century;

“He is the only ruler of the male line of Ecbert whom we can unhesitatingly set down as a bad man and a bad king.” Edward Freeman, The History of the Norman Conquest of England, 1867;

“Good reputations rarely befall those who live for a long time… Had he died in the early years of the 11th century, then we might well remember a king of some competence…” Ryan Lavelle, Æthelred II, 2004.

Talk about damning with faint praise: If only Æthelred had died abruptly at age 34, as his father Edgar did, the 11th century might have been easier for the English. The infamous St. Brice’s Day Massacre of Danes in 1003 would never have happened; nor the debilitating taxation that oppressed the English people and enriched many a Viking; nor Æthelred’s humiliating abdication to a Danish warrior king; nor even that battle at Hastings in 1066 that opened the door to centuries of Norman rule. Æthelred, it seems, has a lot to answer for.

But what do we really know about the man himself? Biographer Ann Williams, in Æthelred the Unready, the Ill-counselled King, cautions: “We do not and cannot know what kind of a man Æthelred was, only what he did and what happened to him.”

Williams may be right, but as a novelist writing about Æthelred’s reign I needed to decide what kind of a man Æthelred was. I had to study what he did, what happened to him, and then I had to make up my mind about him. Truth be told, I was hoping to find a villain. And indeed, this ruthless, vindictive, sometimes energetic, sometimes irresolute king (one historian refers to his reign as bi-polar) was the answer to my prayers.

Æthelred came to the throne under a cloud of suspicion and foreboding – and that’s not something I made up. His half-brother, King Edward, had been brutally murdered, and that crime paved the way for Æthelred’s coronation. That no one was punished for King Edward’s murder hints at a cover-up, if not collusion, by someone in power; if not the new young King Æthelred, aged ten, then others quite close to him. His reputation as ill-counselled had already begun.

Edward the martyr

19th c. portrayal of the murder of Edward the Martyr. (Wikimedia Commons)

William of Malmesbury wrote that Æthelred was haunted by the shade of his brother, demanding terribly the price of blood. That single phrase inspired my creation of a ghost that torments the beleaguered king in my novels. And because contemporary accounts describe King Edward as violent even toward his own supporters, the ghost that I’ve created is no mild-mannered martyr.

The air before him thickened and turned as black and rippling as the windswept surface of a mere. Pain gnawed at his chest, and he shivered with cold and apprehension as the world around him vanished. Sounds, too, faded to nothing and he knew only the cold, the pain, and the flickering darkness before him that stretched and grew into the shape of a man. Or what had been a man once. Wounds gaped like a dozen mouths at throat and breast, gore streaked the shredded garments crimson, and the menacing face wore Death’s gruesome pallor. His murdered brother’s shade drew toward him, an exhalation from the gates of heaven or the mouth of hell – he could not say which. Not a word passed its lips, but he sensed a malevolence that flowed from the dead to the living, and he shrank back in fear and loathing.           from THE PRICE OF BLOOD

Edward’s ghost is my way of explaining the sometimes baffling decisions that Æthelred made. Truly, there were times when, as I conducted my research, I exclaimed, “But why would you do that?”

There is no question that there were political, social, and religious complexities to Æthelred’s long reign, not to mention recurring Viking attacks and an endless string of dire events that can only be characterized as rotten luck, and I’ve tried to reflect these in my books. But the shorthand for how the king responded to catastrophe is expressed by the appearance of his brother’s ghost. (Thank you, St. Edward the Martyr!)

Was the historical figure of Æthelred, though, any more ruthless or paranoid than other rulers of his time? I doubt it. His was a world that was governed by the sword despite the laws that he enacted and presumably sought to enforce. He ruled a newly united England in which allegiances to kin were far stronger than any oaths made to a distant king, so Æthelred had good reason to be suspicious of the men around him. In the final, dark years of his reign, with a Viking army ravaging the land, all loyalties were strained to the breaking point, and English unity fractured. “…there was not a chief that would collect an army, but each fled as he could: no shire, moreover, would stand by another.” (The Anglo-Saxon Chronicle)

Nevertheless, Æthelred’s success at holding his kingdom together for over 30 years meant that art and culture could flourish despite the unrest that plagued England. Benedictine abbeys patronized by wealthy nobles produced gloriously illuminated manuscripts, metalwork, and sculptures.

The Benedictional of St. Aethelwold. Winchester. 10th c. British Library

The Benedictional of St. Aethelwold. Winchester. 10th c. British Library (Wikimedia Commons)

Many of the greatest works of Old English literature were written at this time including lives of saints and the homilies of Ælfric and of scholar/statesman Archbishop Wulfstan. The only copy of Beowulf in existence was produced, it’s believed, while Æthelred was king (although recently some scholars think it was later, but that’s another blog post).

Such accomplishments as these, though, must be weighed against murders, executions, misplaced trust, bad decisions and desperation that characterized his reign. Æthelred died a king, but he was a king who was ill-equipped to cope with the enormous challenges he faced. Even if he was not literally haunted by his brother’s ghost, he must have been, in his final days, haunted by his failures as a ruler.

“He ended his days on St. George’s day; having held his kingdom in much tribulation and difficulty as long as his life continued.” The Anglo-Saxon Chronicle, 11th century

Posted in Anglo-Saxons, Art, Essay, History, Research, UK, Vikings | Tagged , , , , , | Leave a comment

Authors on the Move 2015

AuthorsOnTheMoveLast Saturday night I had the very great pleasure of attending, for the second time, the Sacramento Public Library Foundation fundraiser event, AUTHORS ON THE MOVE. Our keynote speaker was Daniel Handler, aka Lemony Snicket and he was joined by 40 authors from all over California. The theme for the event was Once Upon A Time, so about 1/3 of the authors in attendance were writers of children’s books. Also on hand were some buddies of mine: C.W.Gortner (his newest title, Mademoiselle Chanel releases this Tuesday, March 17); Anne Leonard, author of Moth & Spark (dragons!); Susan Spann whose Blade of the Samurai is the second in her mystery series set in Renaissance Japan; and Barbara Rhine whose debut novel Tell No Lies is set amid the harsh political realities of the 1970’s movement to organize farmworkers in California’s Central Valley.

How AUTHORS ON THE MOVE works: The writers gather late in the afternoon for a banquet and an opportunity to meet and greet each other. I never take full advantage of this. There are so many amazing authors in the room, and I rarely connect with more than one or two. Last night I did manage to meet Jessica Barksdale Inclán (How to Bake a Man) who lives near me (!), and author/artist Josie Iselin (An Ocean Garden: The Secret Life of Seaweed). We are each given a moment in the spotlight to introduce ourselves and our work, and we are also given our three table assignments for the larger banquet to come.

Once we are happily stuffed with the same lovely repast that will be served to the gorgeously attired diners congregating in the banquet room below us, we are invited to make our way to where our books are on display, to spend 30 minutes greeting browsers and signing books.

Capital Public Radio's Beth Ruyak greets the guests.

Capital Public Radio’s Beth Ruyak

The real event begins, though, when the authors take their places in the banquet hall – one author to each table of 10. The attendees are served their first course, and we authors begin our pitches. I spoke passionately to eager listeners about Emma of Normandy, the haunted King Aethelred, and the Viking invasions of England. I answered as many questions as I could before it was time to move to my next table – where I did it all again.

There was only one small glitch the entire evening. An announcement was made after the entrée was served, but it was difficult to catch what was said. A number of authors (including me), presumed it was time to switch to our third table. I gathered my things and made my way to Table 19 where I found Daniel Handler still holding forth. I will have to toss him from his chair, I thought dismally; which I did with help from author Emily Jiang. This is probably why he looked so nervous when, later in the evening, I posed with him for a photo.

I frighten Daniel Handler.

I frighten Daniel Handler.

However, it turned out that we weren’t really supposed to change tables yet. So after hounding the Celebrity of the Evening from his chair, I had to give it back to him and return, chagrined, to my earlier table. And then, to add to my discomfiture, I had to go back to Daniel’s table and reach under his chair to retrieve my purse. It was, alas, a series of unfortunate events, after which my authorial sang froid lay in tatters somewhere under Daniel Handler’s chair.

But now it was time for the Live Auction: 19 Items, many of them involving the participation of one of the authors. I had agreed, some days earlier, to take part in Item #15.

AOM1 Now, before the banquet began, Auctioneer Patrick Hume had sought me out to ask for some details about my book; so I had given him a thumbnail sketch of Emma’s life, her marriages and her historical significance. He, in turn, did a terrific job of ‘selling’ Emma. The result: Item #15 was purchased for $1200. and then purchased again by another bidder. (!!!) So $2400 will go to the library thanks to the gracious donors who will be hosting the dinner, to the brilliant auctioneer, to the two winning bidders, and to Queen Emma. Outstanding! And I’m happy to report that over $100,000 was raised for the library that night.

After the Auction the authors took their places at their third table for the evening. Daniel Handler, no doubt in fear of his life, had already absconded from Table 19 before I arrived to take his place. Shortly thereafter, he was up on the stage giving a keynote address that had the audience in stitches.

And THEN, we scurried back out to the book hall for more sales and signings. All in all, it was a lovely evening. I would do it again in a minute! Well, except for the bit where I tried to steal Daniel Handler’s chair.

With Viking author Anne Leonard. Note Daniel Handler's head looking like a finger puppet on Anne's shoulder. Isn't he cute?

With Viking author Anne Leonard. Note Daniel Handler’s head looking like a finger puppet on Anne’s shoulder. Isn’t he cute?

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On Inspiration

A very generous Elisabeth Storrs, author of The Wedding Shroud and The Golden Dice – novels set in Ancient Rome – invited me to answer a few questions about inspiration. She’s posted the resulting Q&A post on her web page, and I hope that anyone interested in what goes on in the mind of a writer when contemplating a work of fiction will find it – well, inspiring.

An Excerpt: There were women of power in that world, yet anyone reading 11th century annals might imagine that women did not exist at all because they were so rarely mentioned. I wanted to write about women’s power and what that might have looked like…

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The Book Launch Party

Diesel2There were lots of familiar faces last night at the Diesel Books launch party for The Price of Blood. Friends from as close as next door and as far away as New York turned out to buy books and cheer on our favorite medieval queen, Emma of Normandy, and her nemesis, Elgiva.

Book club members, fellow writers, tennis buddies, even my friend the Norse sailor (retired) greeted each other – and me! – although there’s never enough time to schmooze at a coming out party as much as I would like.

Diesel3The audience devoured the two pounds of Sees ‘Normandie’ chocolates that my husband had carefully arrayed on a delicate glass platter — and thank heavens! God forbid I should have brought the leftovers home!

So, what did we do, besides nosh, drink wine and chat? Well, I spoke about Emma, Elgiva, and the ghost who haunts the king; about why I’m writing this medieval trilogy; about the business of publishing a book. I read a little from the novel, answered questions, and exchanged lots of hugs. Tonight, in Pasadena, I hope to do it all again!

Diesel4

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The Price of Blood

9780525427278_PriceOfBlood_JKF.inddMy second novel about Emma of Normandy, The Price of Blood, releases on February 5 in the U.S., Canada, Australia and New Zealand.

I imagine that someone who’s written a dozen books can regard a new release with aplomb (I could be wrong about this). As for me, I am still giddy with delight at holding the book in my hands. I love talking to readers, or prospective readers – or anyone who’ll listen – about the book, the history, the characters, my research, my writing.

Sometimes I worry that because of my passionate interest in Queen Emma and the 11th century I can be something of a bore. I have to be alert and watch for that moment when the eyes of my companions start to glaze over and it’s time to turn the conversation elsewhere.

audio cover final Price of Blood

My life, more than ever before, is lived in the pages of books: my own novels, research books, the works of other novelists. It’s a little like being a child again, when I spent long summer days immersed in one novel after another until my mother had to shoo me out of the house with orders to go play. And when I’m not reading, I’m writing or preparing to write or editing what I’ve written the day before. It’s my job, and I love it.

It’s customary to include Acknowledgements at the back of a book, and I’ve done that, but I could not include everyone. There are so many I wish to thank: casual acquaintances who responded to questions concerning things they know about and I don’t – horses, for instance; scholars I met who pointed me toward research I was unaware of; librarians and library supporters who went out of their way to promote my first book and encouraged me in writing this one and the one to follow; friends who introduced my novel to their book groups; all the readers of Shadow on the Crown who have taken the time to write to me, to post a review on-line or to connect through social media; other novelists who have been such supportive colleagues.

And there are many more, I know. I hope I’ll be forgiven for my omissions.

Because I can’t seem to stop talking about Emma, I am about to go on an ambitious book tour over the next few months. It begins on Feb. 9 in my hometown of Oakland, California and continues to Los Angeles, San Diego, Portland, Sacramento, Phoenix, Seattle and back to the SF Bay Area. I’m looking forward to meeting as many of Emma’s fans as will take the time to make their way to a bookstore to meet me. I hope some of you reading this will find your way to one of these events. I promise to pay close attention to my audiences, in case their eyes start to glaze over and I need to sing or dance or something. Think about it: a medieval queen and a singing author. Really, you know – you won’t want to miss it!

mortuary_chest

Mortuary Chest. Emma of Normandy. Winchester Cathedral. (Wikimedia Commons)

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Grantchester

I was very naughty tonight. I watched the first episode of Grantchester on Masterpiece Mystery when I should have waited for my husband to return home from his trip to Peru so we could watch it together. I’ve been wanting to see Grantchester though, and tonight I just couldn’t wait any longer.

It was worth the wait, I have to say. I enjoyed it very much, even though, having read the book, I knew ‘who done it’. James Norton makes a wonderful Sidney Chambers. I was quite surprised by the casting of Robson Greene as Inspector Geordie Keating, who I had imagined to be a rather bear-like fellow when I read the book. Robson is great to watch. I remember him from Touching Evil. He’s a favorite of mine, although in this first episode of Grantchester we haven’t yet seen a close-up of his piercing blue eyes.  I love that name, Geordie. I know this old folk song by that name. “Ah my Geordie will be hanged with a golden chain…” But I digress.

Grantchester is filmed in Grantchester and Cambridge, one of the reasons I’ve been so eager to watch it. I studied in Cambridge one summer eight years ago and I have very fond memories of the town. Oxford gets so much airplay (Inspector Morse, Lewis, Endeavour), that it was long past time for Cambridge to get a little action. And so it does. I spotted King’s College in several scenes.

King's College, Cambridge

King’s College, Cambridge

There were plenty of shots of the fens that lie between Cambridge and Grantchester, and of the two paths that cross the fens, the upper path and the lower path along the river. I only went to Grantchester once, along the upper path in both directions, and I still regret not walking along the river because it’s supposed to be lovely.

The fens outside of Cambridge

The fens outside of Cambridge

I walked to Grantchester to take tea at The Orchard. It was practically a requirement if you spent any time in Cambridge. Rupert Brooke lived there for a while, and Virginia Woolf was among the group of literati who would have tea with him there. Tea at The Orchard was lovely – and I was lucky enough to be there on a day when the weather was fine.

The Orchard, Grantchester

The Orchard, Grantchester

There were no glimpses of The Orchard in the first episode of Grantchester, but plenty of shots of the church of St. Andrew and St. Mary.  I believe that the interior shots, when Sydney gives his sermons, are filmed there as well.

The church tower, GrantchesterAs I mentioned, Grantchester is based on a series of mystery novels. They’re written by James Runcie whose father was the late Robert Runcie, Archbishop of Canterbury. So when James writes about a vicar in the 1950’s he knows his stuff. I had the very great pleasure of meeting him when I was in Wales last winter. We were both speaking at a literary festival – unfortunately our talks were at the same time so I couldn’t attend his. (Full disclosure: he pulled the larger audience.) I hope he’s pleased with how his characters have been brought to the screen. I think the production is wonderful. Highly recommended, and I urge you to read the books as well!

With James Runcie, Gladstone's Library, Wales

With James Runcie, Gladstone’s Library, Wales

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A Pre-Raphaelite Artist & a Church in Wales

St. Deiniol's Church, Hawarden, Wales

St. Deiniol’s Church, Hawarden, Wales

“Be sure you go into the church and look at our Burne-Jones window.”

I had just arrived in Hawarden, Wales and was being escorted up two flights of stairs to my room in the residence wing of Gladstone’s Library when my guide mentioned St. Deiniol’s Church and its window.

“Burne-Jones?” I asked, a little breathless from the climb. “The Pre-Raphaelite Burne-Jones?” As if there was any other artist by that name who designed stained glass windows.

“That’s the one,” she assured me.

I’ve been a long-time fan of the Pre-Raphaelites and the Arts and Crafts movement, and had seen exhibits of their work in museums in San Francisco, New York and London. I hadn’t expected to find a window by Burne-Jones in a parish church in this small village in Wales.

StD7From my bedroom I could see St. Deiniol’s churchyard, and I soon learned that there had been churches on this site dedicated to the 6th century Welsh saint for over a thousand years. Some elements of the current edifice have been traced back to the 14th century, but St. Deiniol’s had been through several restorations and one fire, and as a result, most of it was now 19th century work. Still, once I was inside, it felt awfully old to me.

I made a number of visits to the little church over the next two weeks, slipping in for quiet contemplation. There were, I discovered, several Burne-Jones windows, but the real stunner was the 1898 west window.

Burne-Jones Window, St. Deiniol's, Hawarden, Wales

Burne-Jones Window, St. Deiniol’s, Hawarden, Wales

It portrayed a Nativity scene, and anyone familiar with the Pre-Raphaelites would recognize the Burne-Jones style in the designs incorporated into the fabrics portrayed and in their lush draping. Like much of Burne-Jones’ work it suggested the medieval. The Pre-Raphaelites were inspired by the medieval past, and Burne-Jones’ gave his artwork a dream-like quality, more beautiful than the middle ages could possibly have been.

Burne-Jones Tapestry, Adoration of the Magi, Exeter College, Oxford

Burne-Jones Tapestry, Adoration of the Magi, Exeter College, Oxford

This was not the first nativity scene of his that I’d had the good fortune to see. I’d visited Oxford’s Exeter College church the year before where a tapestry, The Adoration of the Magi, hung. The works were quite different, but both were memorable. When you’ve seen a piece by Burne-Jones, you don’t easily forget it.

There were other artistic elements within St. Deiniol’s that moved me. On the wall of a side chapel an angel plucked the strings of, appropriately, a Welsh harp. Spanning the nave was a carved wooden cross that I thought quite unusual.
StD9a

Hawarden War Memorial, Remembrance Sunday, 2014

Hawarden War Memorial, Remembrance Sunday, 2014

It had been placed there in 1915 to commemorate William G. C. Gladstone, who was killed in France only three weeks after he had arrived at the front. His tragedy, like so many others, has been commemorated across the nation every Remembrance Sunday, and 2014’s centennial year would be no exception.

On the north side of the church there was a monument dedicated to former Prime Minister William E. Gladstone, the grandfather of that younger William who died in the Great War, and the founder of the library where I was studying. An angel hovered over the bronze sculpture of Gladstone and his wife, Catherine, lying side by side, and everywhere there were memorials to relatives and to parishioners whom they would have known. In fact the church was crowded with memorials and memories. It was crowded with the past.

StD4The past, of course, was my reason for being in Wales at all. And so I spent most days studying Anglo-Saxon history in the library while occasionally making my way to the little church that had its history in its walls and, thanks to Edward Burne-Jones, in windows that so beautifully evoked the medieval.

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