To be published by Henry Holt/John McCrae Books in 2009. He sees the smudge it makes, against the old flawed glass.
Fluent in many languages, learned, witty and thoughtful, he's also an intimidating physical presence; Wolsey fondly compares him to "one of those square-shaped fighting dogs that low men tow about on ropes".
He hears More’s joints creak as he stands. He might rise up from his grave and take issue with me.”, “My lord Norfolk says you enjoy being low-born. But he is worth more than a debating point.”, Cranmer, distressed, shakes his head.
He steps into his barge for the first time, and on the river, Rafe tells his news.
There’s a tense moment when More, locked in the Tower of London awaiting trial for treason, claims to have harmed no one.
“I trust not.”, “So if taking the oath would damn you, what about all these?” Cromwell launches himself forward from the wall. His life for the next ten years is obscure. (A second excerpt from Wolf Hall will appear in a following issue.
Returning to London in his late twenties, a multitalented polyglot, shrewd, amiable, and ambitious, he became a lawyer and business adviser to Cardinal Wolsey.
Perhaps in a sequel Mantel will tell us. “This is not a comfortable place for any of us.”. Law and financial administration - his main activities - don't always ignite writers' imaginations, and in the pop-Foucauldian worldview of much historical fiction since the 1980s, his bureaucratic innovations would be seen as inherently sinister. Mantel, with the novelist’s license, draws the circle more tightly. “That’s better,” Audley says.
As a child, Cromwell is present when an old woman is burned at the stake for heresy: “Even after there was nothing left to scream, the fire was stoked.” Years later, he watches in disgust as Thomas More rounds up more heretics to feed to the fire. We can give them dinner before.”, “Right.” Thurston titters. Meaty dialogue takes precedence over description, and the present-tense narration is so closely tied to the main character that Cromwell is usually called plain "he", even when it causes ambiguities. Determined, controlled but occasionally impulsive, and a talented hater, Mantel's Anne Boleyn is a more formidable character even than her uncle the Duke of Norfolk, portrayed here as a scheming old warhorse who rattles a bit when he moves on account of all the relics and holy medals concealed about his person.
“That’s how the year goes out, in a puff of smoke, a pall of human ash.”. But Wolf Hall succeeds on its own terms and then some, both as a non-frothy historical novel and as a display of Mantel's extraordinary talent. A torrent of birdsong crests on the edge of the sill; it spills into the room, the liquid, fluent notes of the storm-thrush. Its protagonist is Thomas Cromwell: a villain in A Man for All Seasons but here a man with a family, a career, and a sharp way of thinking. Cromwell is a teenager and lying in his own vomit, enduring one of his father’s brutal beatings. Increase the spread of benevolence. So will not you do so?” Cranmer blinks. Also, when you entered the King’s council, long ago, you took a most particular oath, to obey him. If we had not intervened they might already be locked up.”. “Come now,” Audley says, smiling, “that’s not how a hero arrives.”. Cromwell is also, as Mantel sees him, a closet Protestant, monitoring Luther’s battles with Rome and exchanging secret letters with Tyndale, the English translator of the Bible, about the “brutal truth” of the Scriptures. His giblets will be sizzling in his own grease.” He whisks a bloodied cloth from a wooden tray.
How do you write about Henry VIII without being camp or breathless or making him do something clunkily non-stereotypical?
Much space is given over to court politics, which Mantel manages to make comprehensible without downplaying its considerable complexity. Already displaying toughness, intelligence and a gift for languages, he runs away to the continent as a boy of 15 or so (his date of birth isn't known, and in the novel he doesn't know it himself).
I hate to be part of this play, which is entirely devised by him. Or, see all newsletter options here.
A flag with his coat of arms is raised beside the Tudor flag.
Mantel attacks the problem from several angles, starting by knowing a lot about the period but not drawing attention to how strenuously she's imagining it. “I would not treat the Lord my God to such a puppet show, let alone the faithful of England. Bring in better figures next year." But listen, I have something to tell you when we get home.”, A gentleman comes forward and says, “Master Secretary, your barge is waiting to take you back to the city.”, “I should have a house on the river,” he says.
Tap, tap, tap. Aged seven, he takes himself to the Lambeth household of Cardinal Morton, where his uncle is a cook, and begs work in the kitchens. Waste of good wine.
“I assure you, I intend in no wise to be a hero,” More says. Mantel is a prolific, protean figure who doesn't fit into many of the established pigeonholes for women writers, and whose output ranges from the French revolution (A Place of Greater Safety) to her own troubled childhood (Giving Up the Ghost). Eyes closed. To Mantel’s Cromwell, More is in love with his own martyrdom, his own theatrical self-importance, while Cromwell, more in keeping with the spirit of Bolt’s title, seeks a way out for his old rival.
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