Guest post by writer extraordinaire, Terence Hawkins
Arthur Phillips is an exceptionally sly writer. His celebrateddebut novel, Prague, is set in Budapest. The joke is that all its characters, late-eighties expats, long to get out of Hungary and to the Czech capital, where the post-Soviet good times roll.
Though the same whimsy colors aspects of his latest book, The King at the Edge of the World, its tone and subject are darker. It opens in 1591. A Turkish doctor, the sweet-tempered and essentially innocent Mahmoud Ezzedine, has been tricked into joining an Ottoman embassy to London by a court functionary with designs on his wife. After he saves an English courtier from a seizure in Elizabeth’s presence, he is given to the Queen as a present when the embassy departs, leaving him the only Muslim in Britain. Miserable years at court are followed by even deeper agony in the wilds of Cumberland, where he has been assigned as physician-in-residence to the epileptic noble. ButEa things get shockingly worse. In 1601 he is recalled from exile by Sir Robert Cecil’s espionage service. It tasks him with resolving the question critical to the inheritance of the childless and dying Elizabeth’s throne: Is James VI of Scotland a true Protestant or a closet Catholic? If the latter, he cannot be permitted to succeed her.
Thus poor Mahmoud finds himself in Edinburgh, the only place on Earth more dismal for him than Northern England. Eager to finish his mission and cash in the return to Constantinople Cecil has dangled, he hits on a stratagem: only on his deathbed will a man tell the truth about his soul. How he gets James to his, and plucks him back, would be telling too much. Let’s just say that the Scots King’s regrettable hygiene is involved. But the resolution is far more clever than Prague’s switcheroo.
On the way to it, Phillips convincingly portrays England’s true place in the world of 1600: pretty much nowhere. Mahmoud longs for the warmth and vibrancy of Constantinople, its colors brighter and smells sweeter than the “diseased air and gruesome streets” of Elizabethan London. He finds the courtiers effeminate and asks whether they are eunuchs. Most powerfully conveyed is a sense of the island’s insignificance; the Ottomans are the powerhouse of the Mediterranean, who would less than a hundred years later reach Vienna, while England was the last stop before a boundless freezing ocean. There are, of course, bright spots—Mahmoud’s friendship with Tudor magus John Dee, for example—but by and large the image is of Britain as a backward place.
The plot is tight and the prose lush without excesses. Read this for a view of Elizabeth’s England through very different eyes.
Henry VIII & Anne Boleyn. Their love changed history.
Max King & Daisy Colston. Not so much.
They despise each other as they play the part of the fabled lovers in a film considered the-next-big-thing about the legendary Tudor affair.
A chance encounter at a New Orleans tarot shop could seal their destiny.
Some love stories last forever. Some are tragic.
Some just…need magic
Available now on the NEW Kindle Vella platform. Get the first three episodes FREE!
Kindle Vella is a fun reading experience launched by Amazon in early July. Much like Wattpad & Radish, it offers readers a taste of a story in a serial format. Look for a new chapter of Fables: A Tudor Fairytale to be launched weekly. In keeping with the ambience of the New Orleans setting of the story, I’ll be drawing a card from my tarot deck each week and basing each episode on that card. For instance, Chapter 3 is called The High Priestess; Chapter 4 – The Chariot.
In the twilight years of Queen Elizabeth’s reign the nation is at war on two fronts, and fears of a Spanish invasion are never far away.
In this febrile atmosphere, spymaster Robert Cecil calls in Martin Marbeck – his best, if most undisciplined intelligencer – to unmask a double agent who is feeding secrets to the enemy. Marbeck has been under a cloud since a failed mission in Flanders, and is eager to be on the trail.
But the traitor – codename Mulberry – proves maddeningly elusive. Soon Marbeck must leave England for France and venture into the lion’s den, following a tortuous path that winds back to London. With the help of his fellow-agent, the unruly Joseph Gifford, a trap is laid to ensnare Mulberry – with deadly and unforeseen results.
The spy network has been compromised, which means all intelligence reports could be suspect, and the nation is in grave danger. Marbeck must use all his skills to confront the secret forces of the mighty Spanish empire, which pits him against the cleverest and most ruthless opponent he has ever faced. [ENDS]
Having given up trying to become a rock star after playing guitar in various bands, John Pilkington turned to writing and found his true vocation. His first works were radio plays, followed by stage plays and scripts for BBC television. But his venture into historical fiction proved crucial, and it continues to be his lifelong passion. He has published more than twenty books including seven in the Elizabethan-era Thomas the Falconer Mysteries series (now republished by Sharpe Books), four in the Marbeck spy series (Severn House) and two in a Restoration-era series featuring actress-turned-sleuth Betsy Brand (Joffe Books). His last series was the Justice Belstrang trilogy (Sharpe), set in the years 1616-1618. The Marbeck series is also republished in omnibus edition by Sharpe as Blade of Albion.
Born in the north-west of England, he now lives in a quiet village on a tidal estuary in Devon with his partner Lisa, and has a son who is a musician and psychologist. When not at his desk he may be found walking by the river, doing a little carpentry, watching rugby or listening to music – and reading, of course. He is currently sifting ideas for his next project.
“Whatever is dreamed on this night, will come to pass.” —
William Shakespeare, A MidSummer Night’s Dream
Shakespeare wrote of the enchantments of summer solstice. Each year, on a day between June 20-June 24, we have solstice — the longest day of the year. This day has been celebrated throughout history as a day of magic. Many countries in the northern hemisphere receive 24 hours of daylight. Let’s look into the mystery of this celebration and see how Midsummer was experienced in Tudor England.
The word solstice derives from the Latin words sol (sun) and sistere (to stand still). This reflects what our ancestors knew about the sun and its travels across the sky. The summer solstice was used to establish noon and to mark the middle of the year. When people watched the movement of the sun across the sky, they were seeking knowledge about time. This knowledge also helped predict when to plant and harvest. To watch the sun’s movements, they watched the horizon and noted where the sun would appear at a given time each day. According to the English Heritage website, “The Stonehenge we see today is aligned on the midwinter setting sun and the midsummer sunrise.” The summer solstice has the most hours of daylight but it is the one day of the year when the sun is at its highest point in the sky.
Midsummer marked the accomplishments of the year. The earth was pregnant with her soon to be delivered harvest and the sun was in his glory, in the height of his power. Midsummer was the day the wheel of the year turned onward toward harvest then Yule, the shortest day.
The summer solstice was one of the pagan festivals taken over by the early Christian church, which aligned it with the feast of St. John the Baptist on June 24th. By the sixteenth century, Midsummer Day had an interesting mixture of Christian and Pagan meaning.
“Tudor festivals played a major role in 16th-century life,” says Rachel Costigan, Visitor Experience Officer at Little Moreton Hall in Cheshire, England. “They gave our Tudor ancestors something to look forward to in their everyday life. Midsummer was a mix of celebrations which took place between St John’s Night and the Feast of St Peter and St Paul. It also marks the Summer Solstice, and was considered by Tudor people to mark the middle of summer, which started on May Day and finished with the first harvest or ‘Lammas’ at the beginning of August.”
SUN AND FIRE
Fire was the theme of Midsummer celebrations as it symbolized the sun. There was an impulse to make merry in the sunlight at Midsummer, before the year waned into autumn. People made bonfires using the charred logs from the previous year. Often bones were tossed in for good fortune. (The term for bonfire derives from late Middle English: bone + fire; fire with bones for fuel.) The fires were thought to lure the sun to stay longer in the sky. People danced and leapt between the flames while feasting.
This was a time of merry making, of settling differences between neighbors, and giving to the poor. In the country, bonfires were particularly valued to protect crops and livestock. Fires were lit on the windward side of crops and animals, so the smoke would blow over them. In some places, people even drove animals through the embers of the fires. This practice was possibly used as a protection against disease. Causes of diseases in animals and plants were not understood then. They believed that any contagion was airborne, hence the fire was a cleansing agent against disease. Giants and hobby horses went through the streets on ‘Marching Watches’. (The origins of the hobby horse originated in the medieval era when they were used for jousting practice. By the Tudor era, it was believed they brought good luck to festivals.)
Of all the Tudor midsummer activities, the most expensive activities were the Marching Watches, which were parades accompanied by lit torches. These events sound sensational. In London one is recorded as including four thousand marchers. There were Morris dancers, giant straw puppets and hobby horses, and pageants. Even though this was considered a religious festival, you understand how the celebrations retained hints of their Pagan past. Often festivals had mythological or historical themes. In 1521, the Lord Mayor’s Guild in London put on five pageants: The Castle of War, The Story of Jesse, St. John the Evangelist, St. George, and Pluto. They were all carried on platforms and the Pluto pageant included a serpent that spat fireballs. There was also a model giant called Lord Marlinspikes, Morris dancers and naked boys dyed black to represent devils. Dragons and firework displays were popular additions to the marches. In 1541, the Drapers’ Guild procession including a dragon that burned aqua vitae. (Aqua vitae is Latin, defined literally as “water of life.” It was a term for unrefined alcohol. In England in the 1540s, the term was used for brandy and whiskey.)
Fire and the sun are the main themes for Midsummer, in whatever form they derived. The Fire Wheel is an ancient British ceremony. The wheel is based on four equal parts which represent the four seasons. The wheel was set on fire and rolled down a hillside. This is another ritual with obvious pagan roots, with the wheel representing the sun as it passed through each season. If the fire burned until the wheel reached the bottom of the hill, it was thought to bring good fortune to the entire community.
FLOWERS AND SYMBOLISM
As the sun was represented by fires, so flowers represented the earth in the festivities. It was traditional to decorate one’s home — especially the main entry door — with garlands or wreaths. The colors of the flowers used were red, yellow, orange, all colors identified with the sun, and green for fertility. The circular shape of the wreaths suggested both the sun and the cyclical nature of the seasons, again harking back to old Pagan beliefs. John Stow, a seventeenth century writer, remembered green birch being hung on all the local signposts. He wrote:
“Every man’s door being shadowed with green birch, long fennel, St John’s Wort, Orpin, white lilies and such like, garnished upon with garlands of beautiful flowers.”
These plants had powers which were thought to be associated with their religious symbolism. Birch symbolized protection, exorcism, and purification. Fennel was a healing and protective herb. Another protective plant was trefoil. Its three-part leaves suggested the Holy Trinity. The white lilies Stow mention derived their power from their association with the Virgin Mary — they are still called Madonna lilies.
The yellow flowers of St. John’s Wort were seen as an emblem of the sun, and thought to have magical powers. In Tudor England, this plant was connected with St. John because its leaves were flecked red and symbolized the blood of the martyred saint. It is the association with St. John which made this herb so important at Midsummer. Wreaths of St. John’s Wort were placed on the horns of cattle, and even their sheds were decorated with it. All wreaths were left outdoors and allowed to ‘die’ with the sun. Fern spores collected at Midsummer gave miraculous knowledge and power, and it was believed that these could even make you invisible. All herbs were particularly potent under the midsummer sun, so it was the most powerful time of the year for making potions and medicines.
Witches and the fairy folk were considered to be overly active at Midsummer. This is why Midsummer celebrations began at sunset the evening prior to Midsummer. In folklore, the hours between dusk and dawn are said to be closer to the underworld and a time when fairy activity is at its peak. This time was believed to be the time when witches harvested their magical plants. This magical influence is referenced in Tudor stories and immortalized by William Shakespeare in “A Midsummer’s Night Dream”.
Perhaps the figure most depicted as a traditional fairy is the character of Puck, “the oldest of the Old Things” due to his depiction in folklore. Pouk, or Puca, was the term used on the British Isles for the Pagan Sun deity also known as the Stag King or the Horned God. In other cultures, this archetype was represented by deities such as Bacchus, Pan, and Hermes. The Puca was a respected yet vengeful fairy creature. Puca evolved into a medieval term for the Devil. Yet, Puca also had a mischievous side in English folklore and was known as Robin Goodfellow. An expression for being lost is “Robin Goodfellow has been with you tonight.” Reference to this quote are recorded in Tudor manuscripts as early as 1531.
As history and literature records, Shakespeare gave Puck some great PR and an image makeover in “A Midsummer’s Night Dream”. He became the mischievous sprite who causes mayhem with a few droplets of a magical flower. (Note: Shakespeare introduces Puck in Act 2, Scene 1 as Robin. This is a reference to the mischievous prankster, Robin Goodfellow.)
Midsummer Eve was seen as the most advantageous time of the year for enchantments, since the sun and plants were at the height of their powers. Enchantments to reveal who your new lover would be were wildly popular. Lovers looked for ways to spend this magical night in each other’s arms.
Divinations for love, prosperity and health were practiced throughout the island. However, for some people, the importance of midsummer festivities wasn’t about magic, it was about community. Tudor England also viewed Midsummer as a chance for Christian charity, for merry making, and for neighbors to make amends. It was a holiday celebrated much as we celebrate today on New Year’s Eve. It was a time for the fulfillment of wishes and desires, and the beginning of new dreams.
Midsummer was an expensive holiday. The feasting and drinking lead authorities to fear civil unrest. In 1539, Henry VIII banned the Midsummer Watch in London due to the exorbitant cost and drunken crowds. This action outraged his subjects. The Midsummer celebrations were reinstated in 1548, and we can imagine from “A Midsummer’s Night Dream” that by the reign of Elizabeth I a good time was had by all at the Midsummer celebrations.
Then as now, may your dreams come true this Solstice night.
Leonardo da Vinci died in the Chateau de Clos Lucé, apparently in the arms of the French King, Francis I. However, the place and circumstances of Leonardo’s near contemporary Hans Holbein the Younger, beloved by Henry VIII, has eluded art historians. As Holbein’s most recent biographer, I found myself facing this puzzle and to my surprise, I discovered that a simple mistake has allowed crucial details about Holbein’s death, once in common currency, to vanish from history.
Hans Holbein spent the last decade of his life, from 1532 to 1543, living in London, painting the defining portraits of the Tudor court. A celebrity avant la lettre, he was honoured with the title of Henry VIII’s ‘King’s Painter’.
Records from 1541 locate Holbein paying taxes in the parish of St Andrew Undershaft, in Aldgate. His will, dated two years later, cites his home in the same location. My research suggests the painter may have had a prestigious address there, shared by Sir Thomas Audley, Henry VIII’s Lord Chancellor
Hans Holbein the Younger, self portrait.
Audley has significant property interests in Aldgate. In 1533 he acquired Holy Trinity Priory there, and converted this former religious institution into a prestigious urban estate which became known as Cree-Church Mansion, so named after the nearby church St Katherine Cree. This gated community comprised not just Audley’s considerable dwelling, but leasehold residential properties, along with business premises. Audley enjoyed his London mansion until his death in 1544. Then, when the Fourth Duke of Norfolk married Audley’s daughter Margaret in 1558 the complex passed into his ownership and was called Duke’s Place thereafter.
Evidence of Holbein’s professional association with Audley lies in the miniature he painted of the Chancellor’s wife, Elizabeth, probably in 1538. Londoners have long believed that Holbein lived and died on Audley’s property at Cree-Church Mansion. This was noted as late as 1827, in the History & Antiquities of London. When I checked old maps, although the majority of the Mansion complex fell into the parish of St Katherine Cree, its westernmost flank fell into the parish of St Andrew Undershaft. So Holbein could indeed have been a parishioner of the latter, and part of the Cree-Church Mansion community, were he a leaseholder in Berry St.
So why has recent scholarship ignored this? George Vertue, the 18th century engraver who copied Holbein’s work, believed Holbein died in Cree-Church Mansion. But Vertue referred to it as it was known in his day– Duke’s Place. The art historian Horace Walpole therefore dismissed Vertue’s claim, on the basis that Duke’s Place dated to 1558, after Holbein’s death, and noting Holbein’s association with the Third Duke – whom he portrayed – not the Fourth. In his Holbein biography of 1867, Ralph Wornum repeated Vertue’s claim, and demolished it with the same arguments. With considerable oversight both Walpole and Wornum failed to grasp that Holbein could have lived in Duke’s Place in its earlier incarnation, when it was known as Cree-Church Mansion. But Wornum’s word was apparently the last, and thus the fascinating connection between Holbein and Audley’s building became lost.
If one mystery is solved, another remains. Why is there no gravestone commemorating the great Holbein? The answer is the plague. Shortly after Henry VIII married his sixth wife Catherine Parr, in July 1543, London was stricken. Aldgate was the epicentre of the epidemic. Plague pits were dug because local churches could not cope with individual burials. On October 7th 1543 Holbein wrote his will. On 29th November it was executed. Whether Holbein succumbed to the pestilence or not (and surely he did?), any burial at this moment would have been communal.
The pit for those who died in Cree Church Mansion was at St Katherine Cree. So was it here Holbein was laid to rest in the late Autumn of 1543? Though no record of Holbein’s burial survives, once again supporting evidence emerges if one looks hard enough. In 1668 Mayor Payne Fisher made a catalogue of tombs and inscriptions in London’s churches. In St Katherine Cree he noted one to ‘Hans Holben’, most likely part of a wider list of the plague dead. Perhaps made in haste, much like the burials, this inscription simply wore away? Maybe it was removed during church renovations in 1878?
Holbein’s death lacks the romance of Leonardo’s. He did not live a long life, nor die in a French chateau. He certainly did not enjoy the company of a king in his final hours. Holbein died at forty six, in the midst of plague ridden London. But he was perhaps in an English mansion, with the King’s Lord Chancellor looking on.
Please welcome Steve Veerapen to All Things Tudor. Like most great relationships, we met on Twitter. He is from Glasgow, my husband’s home town, and it has been wonderful working with him. Recently, he took a few minutes to share insight into his fascinating career as a writer and historian.
What prompted you to choose to write about Mary Queen of Scots & Lord Darnley in your first book?
In my case, I was following the old strategy of ‘write what you know’. I’d been researching and teaching this period for years and it seemed fertile ground for trying fiction. Once I knew I wanted to write about Mary Queen of Scots and Lord Darnley, the choice of characters dictated the period.
What is your approach to researching your novels? Has the process changed over the years?
A great question! My approach is generally to start with a setting or event and then narrow research down to books and articles which cover those days, weeks, or months in depth. I try to also dip into research material which covers lifestyles in the period more generally. I’ve always tried to approach researching fiction in the same way I approach nonfiction (though I can get away with more in the former!). Academic study really teaches you to narrow in when researching.
Which other historical novelists do you admire?
There are loads. My friend Marie Macpherson (who has worked wonders in bringing John Knox to life), E C Fremantle, Paul Walker, John Pilkington, Patricia Finney, Anna Castle. And of course my favourite author, Daphne du Maurier, was no mean historical novelist.
When first sketching out an idea for a novel, which comes first – the protagonist, plot or history?
Protagonist and broad plot usually come had in hand (sometimes one or the other skipping ahead) and history last. Once I know what’s going to happen and to whom, I fit it into specific historical contexts.
Do you have a daily routine as a writer?
I don’t have a daily routine per se, but when I have a book on the go, I tend to write every day for a few hours. Each book seems to bring its own routine!
If you could choose to meet any historical figure from your period, who would it be and why?
I think it would have to be Mary Queen of Scots. I’d love to find out exactly what she knew of her husband’s murder (and what she really looked like – for the same reason, I’d love to get a glimpse of Anne Boleyn!).
Steven Veerapen was born in Glasgow and raised in Paisley. Pursuing an interest in the sixteenth century, he was awarded a first-class Honours degree in English, focussing his dissertation on representations of Henry VIII’s six wives. He then received a Masters in Renaissance studies, and a Ph.D. investigating Elizabethan slander.
He writes historical fiction set in the early modern period, covering the reigns of Henry VIII, Elizabeth I, and James VI and I; additionally, he has written nonfiction studies of Mary Queen of Scots’ relationship with her brother; Elizabeth I and her last favourite, the Earl of Essex; and an academic study of slander and sedition in the reign of Elizabeth.
He has also published a variety of academic articles in literary and historical journals and magazines and teaches English literature at the University of Strathclyde. Steven remains fascinated by the glamour and ghastliness of life in the 1500s and 1600s, and has a penchant for myths, mysteries and murders in an age in which the law was as slippery as those who defied it.
Steven’s latest work is The Queen’s Gold: A Christopher Marlowe Spy Thriller
The Sparrowhawk, one of Drake’s lost treasure ships, is found wrecked in Devon. Rumours spread through England of its booty, including a mysterious treasure: El Sol Dorado.
Thomas Lewgar, the resentful roommate of aspiring playwright Christopher Marlowe, hears of the rumours. He discovers, too, that the boastful Marlowe is engaged in a web of espionage.
Intrigued and repelled by the irreverent Marlowe, Lewgar joins the poet in seeking the lost treasure. If they can find it, they will be richly rewarded by queen and court.
But they are not the only ones hunting the prize.
A crooked courtier, Henry Howton, has also heard the rumours. In the secret employ of the Spanish, he hopes to find the treasure himself – and he will stop at nothing to get his hands on it.
Racing their Spanish-backed enemy and his dangerous associates, Lewgar and Marlowe must discover the strange history of the ghostly wreck. Their journey will lead them into the rotting carcass of the Sparrowhawk, into the presence of sea-dogs Francis Drake and Walter Raleigh, and through the ravaged home of spiritualist Dr John Dee.
Betrayal, falsehood, and deceit lie in wait.
Can they discover the lost treasure and unravel the mystery of El Sol Dorada before the Spanish?
Praise for Steven Veerapen:
A Dangerous Trade
‘A slow-burn character driven spy story that grips like a thumbscrew tightened by twist after twist towards the end – Le Carre transported to the 1560’s. Brilliant work, based in impressively wide research and the kind of competition that I and a good number of others could well do without!’ Peter Tonkin, author of The Ides
The Abbey Close (Book One of the Simon Danforth Mysteries)
‘The author balances gimlet-eyed research with narrative drive and clever reveals… Danforth is a strong yet torn central character… I look forward to reading the second book in the series.’ Richard Foreman, author of The First Crusade series
Blood Feud: Mary Queen of Scots and The Earl of Moray
‘Much-needed analysis of a sinister sibling rivalry.’ Marie Macpherson
Elizabeth and Essex: Power, Passion and Politics
‘A sensitive and lively account of one of the most politically significant relationships of the Elizabethan age.’ Lisa Hopkins
‘Both a crime and spy thriller.’ Richard Foreman, author of The First Crusade series
‘From its tense beginning to satisfying end, Steven Veerapen skilfully weaves historical fact into a gripping tale, making a superb contribution to 17th century fiction.’ John Pilkington, author of The Ruffler’s Child
Bestselling author and historian Tracy Borman took time to discuss her career, history obsession and her upcoming appearance at the Chalke Valley History Festival. Find out what dastardly deeds caught her attention while writing The Fallen Angel.
-How would you describe yourself in fifty words or less?
Author, historian and broadcaster whose obsession with the Tudors borders on the unhealthy. I’m also joint Chief Curator of Historic Royal Palaces and Chief Executive of the Heritage Education Trust.
-Why do you love history?
I’ve always loved it and I think that’s innate, rather than something learned. Apparently my paternal grandfather was a fellow history-lover so perhaps I get it from him, although sadly he died before I was born. Thanks to my work for Historic Royal Palaces, I spend a lot of time in beautiful historical buildings, but for me what sets my passion for history alight is the research. The thrill of getting my hands on original documents in The National Archives, the British Library and elsewhere is something that never diminishes, even after all these years of writing and researching.
-Can you think of one specific event that led to this?
I think the reason I’m a historian now is thanks to my ‘A’ level history teacher, who really encouraged my passion for the subject…and made me fall in love with the Tudors. She also opened my eyes to the fact that history isn’t just about ‘facts’, dates and events; it’s about real people – human beings with emotions just like us. That changed everything for me.
What drew you to Tudor and Stuart history?
See above. Mrs Jones has a lot to answer for! But I also became fascinated with the Stuarts when researching my non-fiction book, Witches: James I and the English Witch Hunts. It was such a dark and turbulent period of our history, yet one that’s often overlooked. That research inspired my fiction trilogy, The King’s Witch, The Devil’s Slave and The Fallen Angel.
-Do you have any favourite characters or persons from these eras that appeal to you? Any that you dislike?
My all-time historical heroine is Elizabeth I. I admire her so much – her self-discipline, courage, shrewdness and the way she confounded expectations as a ‘weak and feeble woman’ ruling over a court and kingdom dominated by men. Mary, Queen of Scots, on the other hand, deepened the prejudice against female rulers by being reckless, self-indulgent and entirely led by the heart. The two women couldn’t have been more different – and I think you can tell who’s my favourite! For the Stuart era, I was really drawn to Anne of Denmark, queen consort of James I. I think there’s much more to her than meets the eye, particularly with regard to her clandestine links to the Catholic community and, possibly, even the Gunpowder Plotters – as I hint at in my novels.
-What led to your interest in the Duke of Buckingham & James I/VI?
It was the research I carried out for my non-fiction book, Witches. The transition from the Tudor to the Stuart dynasty led to great uncertainty in England, which soon darkened into hostility towards the new king – and, ultimately, an attempt to blow him and his entire government to the skies. James himself is an intriguing character – not easy to like, despite his intellectual gifts and wry sense of humour. As for his favourite, Buckingham, he was an out and out villain – both in my novel, The Fallen Angel, and in real life. But villains are so much more fun to write about than heroes so I’m grateful for all his dastardly deeds, even if his contemporaries didn’t quite feel the same.
-Tell us one thing you learned while writing The Fallen Angel that blew your mind.
I think it would have to be the fact that Buckingham may have had a hand in James I’s death. Evidence has been uncovered recently that shows Buckingham had access to poisons and physicians who dealt in them. He was certainly in close attendance on the king in his final weeks. It may just be circumstantial – there were often rumours of poison surrounding royal deaths – but let’s just say the dastardly duke had the means.
-What’s your involvement with Chalke Valley History Festival?
I’m proud to be a patron of the festival and have taken part in it every year since 2015, when I postponed my honeymoon in order to be there! It’s been wonderful to see it get bigger and better every year. Come rain or shine (and there’s been plenty of both!) it’s the highlight of my events calendar.
Tracy Borman studied and taught history at the University of Hull and was awarded a PHD in 1997. She went on to a successful career in heritage including working for the Heritage Lottery Fund, The National Archives and English Heritage. She is now Chief Executive of the Heritage Education Trust and also joint Chief Curator for Historic Royal Palaces. She is a trustee of The Buccleuch Living Heritage Trust and The National Archives Foundation, as well as a Patron of Lavenham Library and a Honorary Patron of the Chalke Valley History Festival. She is the author of a number of highly acclaimed books, including Thomas Cromwell: The Untold Story of Henry VIII’s Most Faithful Servant; Matilda: Wife of the Conqueror, First Queen of England; Elizabeth’s Women: The Hidden Story of the Virgin Queen; and Witches: A Tale of Sorcery, Scandal and Seduction. She is also a regular broadcaster and public speaker, giving talks on her books across the UK and abroad.
About Chalke Valley History Festival
The aim is to excite, enthral and entertain about the past. All proceeds from the festival have, since 2012, been directed to the Chalke Valley History Trust, which promotes the understanding of history to all ages, but especially children.
The Chalke Valley History Festival began in June 2011 on a small scale and as a fundraiser for the local cricket club. Club stalwart and historian James Holland had the idea for a festival but it was James Heneage, founder and former CEO of Ottakar’s bookshops and now historical novelist, who suggested a festival dedicated to history.
It began with the help of a number of local volunteers, among whom Peter Bell and Rachel Holland played a big part in that first year and continue to do so today. Jane Pleydell-Bouverie came on board in autumn 2011 and has been at the heart of the festival ever since. The Daily Mail became the festival’s principal sponsor in 2013, and it now consists of a week of talks, discussions, debates, as well as extensive and immersive living history and historic air displays.
Since 2013, the festival has also incorporated the History Festival for Schools. ‘An understanding of the past is essential,’ says Co-Founder James Heneage, ‘without that, it is impossible to make sense of the present or prepare for the future.’
2017 saw the festival move to a new site of over 70 acres in Broad Chalke, but still in the heart of the beautiful Wiltshire Chalke Valley.
Church Bottom, Bury Lane, Broad Chalke, Near Salisbury, Wiltshire, SP5 5DP
Dr Joanne Paul is Senior Lecturer in Early Modern History at the University of Sussex. Her work focuses on politics and culture of the Renaissance period, largely in England, and she has published on topics from Hobbes to Shakespeare, gender to temporality. Her first book, Thomas More (Polity, 2017) is an overview of More’s writing and ideas and her second, Counsel and Command in Early Modern English Thought (Cambridge University Press, 2020) traces the role of political counsel from the early Tudor period to the English Civil War.
She is currently working on a number of projects, including a history of the Dudley family, to be published with Michael Joseph (Penguin, 2022 )and two modern editions of sixteenth century texts: Anne Dowriche’s The French Historie and Thomas More’s Utopia.
Dr Paul has also shared her research more widely, appearing on a variety of television and radio programmes and featuring in magazine articles and podcasts.
She has recently launched her own podcast: Primary Sources: Conversations with History Makers, which can be found on all major streaming sites. She has recently spoken with historians Greg Jenner, Helen H. Carr, Hallie Rubenhold.
Today – May 21 – she is with Nathen Amin who wrote Tudor Wales, and a biography of the Beaufort family, The House of Beaufort. He also discusses how he wrote Henry VII and the Tudor Pretenders.
Click here to access. This is a Viral History podcast.
Welcome Matt Lewis to All Things Tudor AND let’s find out more about his new podcast.
Matt Lewis is a writer and historian of the high and late medieval periods. His primary focus is the Wars of the Roses, but he has also written on The Anarchy, Henry II, Eleanor of Aquitaine, and Henry III. Matt has appeared as a guest and a presenter on documentaries and is a contributor to several magazines, as well as recently being appointed Chair of the Richard III Society.
Matt is delighted to share with us that he is co-hosting a new podcast from History Hit devoted to the middle ages: #GoneMedieval. Dr Cat Jarman is covering the early medieval period and he has the high and late periods. They have some amazing guests and episodes coming up.
Subscribe and get an episode from each of them every week to feed your medieval fascination.
The first episode is half of a long chat between Matt and Nathen Amin – Author chatting about Henry Tudor. Matt says he knows the big question is whether or not it ended in a massive fight, but there’s some fascinating discussion about Nathen’s new book, Henry VII and the Tudor Pretenders. Let’s go across the millennium and around the world to explore the middle ages. Look for more topics soon!
#GoneMedieval. Subscribe, listen, and join us! Join for Matt and I on Clubhouse, 2 June at 3pm/20.00 UK time as we debate Plantagenet v Tudors!