Coming Soon–A Murdered Peace, Kate Clifford 3


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A Murdered Peace will be published on 11 December, and just in case you haven’t YET preordered the trade paperback or e-book, here are some glowing reviews and an interview to entice you.

The Historical Novel Society says: “Robb deftly weaves in historical background and details, ranging from political context to facets of daily life. Fans of medieval history will enjoy the details of running a household and cooking, the history behind women’s jewelry, and the intrigues between different factions in York and beyond. Mystery fans will appreciate how Robb manages the many characters and plot twists, tying up seemingly loose ends into a creative and rational outcome. Kate Clifford is an intriguing character in Robb’s oeuvre, privileged enough to mix with the upper classes, yet streetwise and welcoming to the poor. Through her, readers are afforded a well-rounded view of 15th-century life, as well as a page-turner of a tale.” I’m all smiles! Click here for the full review (which reveals something delicious for Owen Archer fans).

Robin Agnew, owner of Aunt Agatha’s Mystery Bookshop (now online), posted this review of A Murdered Peace on the shop’s blog. And she also interviewed me for her new blog on the Mystery Scene magazine site–click here to read the interview. We’re old friends, so this was a lot of fun.

Need more enticement? Click here for an earlier post with reviews of A Murdered Peace.

I am thrilled the book is being received enthusiastically (Publishers Weekly recommended it in their holiday guide!), for I love these characters. It was tough to drag myself away from them to resume the Owen Archer series. But never fear, I’ve just reviewed and returned the copy edited manuscript of A Conspiracy of Wolves, the 11th book in the Owen Archer series, and it’s off to the printer! It will be out in hardcover in the UK on 30 April 2019, and in hardcover and e-book in the US and around the world on 1 August. I’ll be in England for some talks and signings in May–stay tuned for details!


Q&A with Kim Zarins, author of Sometimes We Tell the Truth


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I am delighted to introduce you to Kim Zarins, author of the YA novel Sometimes We Tell the Truth (Simon Pulse, Sept. 2016), a brilliant retelling of Geoffrey Chaucer’s Canterbury Tales in a contemporary setting, with the “pilgrims” as high school seniors on a class trip to Washington, DC. I loved the book when I read it two years ago, and I’m enjoying it even more on my second read. Or is it my third? (I’ve been chasing her down for this blog post for a few years. Each year at Kalamazoo she promised soon!)

I first met Kim in 2003—eons ago!—when my friend Paul Hyams invited me to spend a few days at Cornell University talking to grad students and giving a public talk on the ethics of historical fiction. Kim was one of the grad students I met, working on her PhD in English Literature. She earned her PhD in 2009 while teaching at Cornell, then Santa Clara University, and San Francisco State University. Since 2009 she’s taught at California State University at Sacramento where she’s currently Associate Professor of English. Now here’s the kicker—when she contacted me several years ago, on Twitter, as I recall, I knew at once who she was. She’d made such an impression on me all those years ago at Cornell.

So, without further ado, here’s our conversation:

Candace: First, why modernize?

Kim: It was the right choice for me for many reasons. I love reading historical fiction, but I couldn’t (and can’t) see myself writing a medieval retelling of Chaucer’s Canterbury Tales. I fear I’d get bogged down in researching cobblestones and privy logistics and just feel unqualified at capturing medieval London and the road to Canterbury. Similarly, while I adore Middle English, I didn’t want to wrestle with diction that sounds too ye olde Engelonde-ish. In truth, I didn’t want to convey the medieval atmosphere of Chaucer’s text so much as the characters and stories themselves, the themes that speak to us as clearly as they did back then—meeting people who are different from you and listening to them, being in love, standing up for yourself, facing uncomfortable truths. Modernizing the tales removes all the medieval atmosphere, and since a modern setting doesn’t bear much analysis for modern readers (it’s just teens on a bus riding along with the occasional coffee break), I can keep the focus on the internal growth of the characters and the storytelling dynamic.

Candace: And why teens?

Kim:  Chaucer’s characters are so much larger than life, as well as works-in-progress, and their passionate natures and vibrancy just seemed to make them perfect as teenagers, and the medieval sense of hierarchy and type-casted roles seem not all that different from the high school scene. I love the unabashed coming-of-age narrative we get in kids’ and teens’ books, and I could focus on the characters’ deep feelings and budding insights, while remaining true to their limited viewpoints. I really loved having this toy box of amazing characters to play with. I think if I were writing Geoffrey Chaucer, Father of English Poetry, I’d freeze up and not dare remove him from his pedestal, but Jeff Chaucer the shy teenager was a wonderful and accessible narrator, so frustratingly flawed but so real and relatable. I also loved the idea of meeting Chaucer’s pilgrims as teens, especially the Pardoner. There’s something redemptive about meeting the Pardoner as a teen and seeing if I can shift something so he doesn’t have to grow up and be a bitter, despairing villain. Finally, I loved the idea of writing to a teen audience and sharing these relatable stories, and hopefully spread some Chaucer love to the next generation.

[Candace jumping in to say I was so moved by Pard/the Pardoner. I felt you’d delved into the heart and soul of a character Chaucer had been just sketched in to suit his purpose and you brought out his depths.]

 [Kim jumping in to say Thank you so much! He was the character I worked on the most and the only one who voiced opinions about his own centrality in the novel. No marginalization for this Pardoner! I loved working on every scene he was in.]

Candace: As a writer I’ve wondered whether some of the tales and the pilgrims were easier to modernize than others.

Kim: Not to sound complacent or braggy (believe me, I know about writer’s block!), but some pilgrims and tales were very easy to write. This is partly because I teach Chaucer, and I try to make modern parallels for my students. For example, I make references to Twilight, or my students consider how the characters would talk if they were on Twitter. The pilgrims’ voices are so distinct—the Miller talks only like the Miller, and so on. This really helped my characters have their own voice and not bleed into one another’s. And knowing who they were helped with writing their tales, with an eye to their personalities but also Chaucer’s original tales.

When I sketched an initial outline, a modern concept would spring to mind, and the tale then would write itself. For example, The Knight’s Tale with those two Theban princes revived from the pile of corpses is just *obviously* a zombie love story, right?! And The Franklin’s Tale involves a magician willing to help a young man get a woman through a magical demonstration—the whole situation is creepily Slytherin, so the path was clear there too. I confess the fabliaux were straightforward to write, and I kept the scandalous content but provided a lot of criticism from the women on the bus (a lot of Chaucer’s male characters had to become female, because otherwise it would be a really weird demographic—it just shows how outnumbered the Wife of Bath and Prioress really were).

Other tales were more difficult. The Clerk’s Tale is just painful and The Prioress’s Tale is horribly anti-Semitic. I didn’t see how the modern Prioress could tell a story like that and not get kicked off the bus. The other thing that was hard was that I knew I wanted the Canon’s Yeomen to make an appearance, but working him in took a lot of plot points and backstory. He was the most challenging. Still, I really wanted a complete cast, so it was worth it!

Candace: Did the tales or the characters come first–that is, did you modernize the pilgrims and then think about how to modernize their tale, or did it go the other way, or vary? I love hearing people talk about their writing process. 

Kim: The characters came first. While I was writing drafts of my General Prologue, I was also writing out character descriptions. I made an Excel spreadsheet for seating arrangements based on social hierarchy (cool kids in the back, nerds in the front row), and another for the character traits and which colleges they were planning to attend, what cars they drove, etc, just so I could know more about them before I directed attention to their stories.

Candace: When teens read the book, what sorts of questions do they ask about Geoffrey Chaucer and the medieval setting? Do they ask any? 

Kim: From what I can tell, most teens are surprised that it’s a Chaucer retelling. Any Chaucer-savvy reader can see the references a mile away, but because it’s a modern retelling, it’s not at all obvious to someone unfamiliar with Chaucer. The novel simply reads as a contemporary story. So I’ve heard many teens remark that they were surprised that in the Afterword I call it a Chaucer retelling—and explain what I did—and they express an interest in reading Chaucer. I love to hear that!

Perhaps the coolest Chaucer discussion I’ve ever had with teens was at the Chaucer Celebration at Arizona State University, where I was invited to read from my book to over 100 high school students, many of them from Title I (low income) schools. The students had prepared for the event by reading The Franklin’s Tale, a tale of magic that originally came from Giovanni Boccaccio’s Decameron. I read my modern version, which comes across as Harry Potter-fanfiction. Before I read the excerpt, I told the students that my tale is Chaucer fanfiction of Chaucer’s Boccaccio fanfiction, all framed as Harry Potter fanfiction! After the reading, some high school students came over and wanted to hear more about Boccaccio’s winter garden and how I was playing with Boccaccio instead of going with Dorigen’s “grisly feendly rokkes blake” (I love saying that phrase aloud). The teens were eager to read Boccaccio’s tale and see for themselves how Chaucer adapted it for his purposes. We actually talked more about Boccaccio than Harry Potter, which is kind of shocking! One cool thing about that discussion was that teens really get how awesome fanfiction is, so when they find out Chaucer was doing the same thing, it intrigues them. If Harry Potter is the gateway drug to Chaucer and Boccaccio, so be it!

[Candace inserting… “If Harry Potter is the gateway drug to Chaucer and Boccaccio, so be it!” Or is Kim Zarins the gateway drug to Chaucer and Boccaccio?!]

[Kim inserting…  😉 ]

Candace: Do you think of the school trip as a kind of pilgrimage? or is it the occasion of group travel that’s the parallel?  

Kim: The trip to Washington D.C. is a secular analogue for Chaucer’s religious pilgrimage to Thomas à Becket’s shrine. It’s also a right-of-passage for many junior high and/or high school students. It seems like a transition marker and a potentially transformative trip. For me the group dynamic is the key part of the real pilgrimage, rather than the physical destination. I don’t spend much time on Washington D.C. itself, because that’s the curricular pilgrimage, the occasion for the whole thing, but the spiritual pilgrimage is really about this group of teens who learn to listen to one another and rethink one another’s stories and their own.

Candace: What more can I say except you MUST read this book. Whether or not you remember the Canterbury Tales, you will fall in love with Kim’s characters.

NOTE: And for any high school teachers reading this, if you’d like desk copies of the book, Kim invites you to contact her through her website

Kim: Thanks, Candace! This was awesomely fun!

Candace: For me as well!

Pre-publication Reviews for A Murdered Peace


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Working toward a looming deadline on the eleventh Owen Archer, but wanted to share some quotes from early reviews for the Kate Clifford novel (#3), A Murdered Peace, coming out in December!

From Publishers Weekly, a starred review!
“Set in York in 1400, Robb’s superior third Kate Clifford mystery (after 2017’s A Twisted Vengeance) puts the redoubtable heroine in considerable peril. Richard II has been deposed and succeeded by his cousin, Henry IV. After Henry survives a plot to return the throne to Richard, the sovereign sees conspirators everywhere. Kate, who runs a guesthouse whose upper chambers are frequently rented to the wealthy for private assignations, finds herself between a rock and a hard place when an old friend, Lady Margery Kirkby, appears at her door seeking shelter. Lady Margery’s husband, Sir Thomas, sought to persuade Henry to improve the conditions of Richard’s imprisonment, but ended up branded an enemy of the crown and decapitated. Kate takes the new widow in, but the risks to herself increase after her former cook, who’s suspected of being a threat to Henry, is accused of murder. Robb effortlessly integrates the era’s intrigues into a whodunit framework and peoples the plot with a wide array of characters readers will come to care about.”

From Writer & Readers Magazine, Cynthianna Matthews sums up her review: “A Murdered Peace has all the hallmarks of Candace Robb’s work. Kate Clifford and her fellow people of York are complex living characters, and meticulous period research doesn’t get in the way of a fine flowing narrative and a genuine sense of mystery and peril.”

From Kirkus: “Those who meddle in the affairs of kings live to regret it…A …tale of love and murder set in a turbulent period when death and betrayal lurk around every corner.”

I’ll take those!

Remember to preorder–that and reviews on amazon or goodreads are exceedingly helpful ways to support your favorite writers!

Windows shut against the wildfire smoke, I’m madly revising A Conspiracy of Wolves–off to agent next week, to publisher at the end of September. As soon as I have a publication date I’ll let you know!

Where Have I Been?


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You are wondering, aren’t you? You’ll be happy to read that I’ve been writing A Conspiracy of Wolves, the 11th Owen Archer. I’m now racing to the finish, and then I’ll be polishing and adding depth and details–the manuscript goes to my new publisher at the end of September. (More about my new publisher next month.) It is such a delight to spend months in the company of Owen, Lucie, Magda, Alisoun, and all the gang!

An amusing note about the name change: I’d chosen the title A Rumor of Wolves, but it caused headaches for US/UK cover design because “rumor” in the US is “rumour” in the UK. So now the rumor(our) is a conspiracy.

In other news, A Murdered Peace, the 3rd Kate Clifford mystery, will be coming out in early December (US, Canada, and UK ebook and trade paperback). I think you’re going to love the wrap up to the first three books about Kate.


Also coming in December, A Twisted Vengeance (Kate Clifford 2) in trade paperback!


Q&A with the editors of Bad Girls & Transgressive Women


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And now for some fun with Julie Chappell and Mallory Young, the editors of Bad Girls and Transgressive Women in Popular Television, Fiction, and Film. While gathering my thoughts and impressions to compose a review of the clever and timely anthology they’d assembled, I jotted down a list of conversational queries. Much to my delight, they both responded with enthusiasm. Enjoy!

  • Question (CR): The #MeToo movement exploded not so long after you published this collection of essays exploring how popular culture depicts women swimming upstream against a current of patriarchal attitudes and rule. And, of course, you must have been preparing this for publication during the run-up to and the aftermath of the 2016 election. A few questions regarding this:
    –How does it feel to ride this wave?
    –Had you seen this coming, what, if anything, might you have done differently? (Or did you see this coming?)
    –Any thoughts about a follow-up volume?

MY:  We actually started focusing on the subject of Bad Girls long before this particular movement. The collection grew out of a conference session we organized in 2013. But while I certainly can’t claim I saw the movement (or the election results!) coming, I’ve been around long enough to know that new waves in the status of women are a constant. Sometimes those waves bring significant progress, but more often it’s a two steps forward, one step back situation. So I truly believe there’s always a need for a collection like this. As far as a follow-up volume, let’s see how this one goes first!

JC:  We’ve both been part of the Second Wave since the late 1960s so are used to “swimming upstream” in our lives and careers! But, sexual harassment is only a part of the issue for me. This book is about much more than that. All the contributors’ essays challenge the untreated patriarchal myopia and its consequences. We talked about a second volume at the beginning of this project but have agreed to wait and see where this one takes us.


  • Q (CR): Reading this book has made me aware of how much I miss when absorbing popular culture, and, now that I’ve awakened to that, my habits are changing. I’m certain that it made my reading of Madeline Miller’s new book, Circe, so much richer than it would have been. (Though I would have enjoyed it just as much—now it had more levels of meaning for me.) How has this project changed your responses to popular culture?

MY:  I’m so happy to hear that! That’s certainly one of our major goals in focusing on popular culture—to make people more aware of what we’re absorbing all around us. I’ve been studying the representation of women in popular culture since before 2005, when I co-edited a collection of essays on “chick lit” (and two years later one on “chick flicks”). So I can’t say this project really changed my responses. But it did continue and deepen my awareness of the issues. And the diversity in the types of texts we ended up including expanded the parameters in some exciting ways.

JC:  I have to admit that before grad school during the Reagan years, I was generally a skeptic about the benefits of pop culture research. But early in my study of medieval and early modern literature and history, I was reading Richard the Redeless (which invoked Ethelred II, posthumously called the unræd, the ill-advised) and listening to Bruce Springsteen’s latest album when I realized that pop culture was nothing new and provided a necessary and integral path to understanding more diverse aspects of human nature and culture. The Bad Girls’ contributors’ essays have reaffirmed the importance of studying pop culture and seriously expanded my knowledge of significant pop culture “texts.”

  • Q (CR): While I read, I compiled TBR (Vera Caspary? How had I never heard of her?!) and TBW (for the first time I’m curious about The Walking Dead) as well as TBRW (I missed so much in Buffy) lists. This is such a gift. What did you discover for the first time while reading the submissions? What have you discovered since?

MY:  I was unfamiliar with Vera Caspary too—what an amazing find! My other discovery was the graphic series, Saga. I had read a couple of graphic novels (Maus is one of my all-time favorite books), but I had never heard of this one. Now I’m a devoted fan: I’ve read all eight volumes and I’m looking forward to Volume 9, due to come out this fall. My own TBR, TBW, and TBRW lists do keep growing!

JC:  I grew up with Wonder Woman comics for inspiration for my own bad girl tendencies, but, as an adult, I considered graphic novels just as I had comic books, for children. Consequently, I had not read any graphic novels even though my husband had encouraged me to as he taught them for years, including Maus, Persepolis, and Pedro and Me, among many others. So, I admit that Mihaela Precup and Dragoş Manea’s perspective on Saga was definitely the most wonderful discovery for me. The Wonder Woman film has corrected much of the patriarchal issues of the original comic book character but cannot seem to shake the patriarchal notion that women must be beautiful above all else. In contrast to Alana and Hazel in Saga, Wonder Woman has a long way to go yet! I have for many years read and taught a variety of crime fiction in short and long form. Perhaps my Swedish roots have drawn me more toward a love of Swedish novels from Maj Sjöwall and Per Wahlöö to Liza Marklund’s Annika Bengtzon series. I also love crime fiction on film and television, including the 1944 film adaptation of Vera Caspary’s novel, Laura. But, Bedelia and Kirsten Saxton’s essay were revelations!

  • Q (CR): I appreciated the historical background in many of the articles. Kate Waites’s Hollywood’s Warrior Woman for the New Millennium comes to mind, narrating how the concept of “bad girls and transgressive women” has changed. The change has come about because society’s attitudes have shifted both in what we admire and what we will tolerate (i.e., pay money to see). And yet… Elizabeth Johnston’s “Let Them Know That Men Did This”: Medusa, Rape, and Female Rivalry in Contemporary Film and Women’s Writing makes it clear that much still needs to change. What are some of the historical shifts that stand out for you?

MY: One of my favorite features of this collection is the constant back-and-forth movement that you identify here. I think what stands out for me is the amazing variety of perspectives in contemporary popular culture. In my view, both Waites and Johnston are right: so much has been done; so much remains to be done. In the Introduction, I mentioned the TV series Supernatural which struck me as putting forward a startlingly regressive view of women and women’s roles. (Maybe I shouldn’t have been surprised, given that the show originally targeted an evangelical Christian audience.) After I wrote that essay, though, audiences were treated to a major shift in perspective, with a surprise revelation that the mother of the central “demon-hunter” brothers, who was previously seen entirely in the role of a victim, was herself a strong and capable demon hunter. I strongly suspect the show’s writers and producers were influenced to change the original concept to fit the views of a broader, more mainstream audience. I was pleased to see that. But that doesn’t mean other antifeminist views aren’t still being put forward—most troubling are those, as Johnston pointed out, geared towards young audiences.

JC:  I definitely agree with your appreciation of historical background from the scholars and even in their sources. Joss Whedon moved out ahead of his contemporaries with his characterization of the female vampire slayer, Buffy, in the 1992 film, but the movie did not, as I understand it, follow Whedon’s artistic vision. He secured his vision with the television series, Buffy the Vampire Slayer, giving us a strong and independent female lead and a marked change from the earliest vampire tales of the eighteenth and nineteenth centuries with that era’s weak and helpless Gothic female victims. Kaley Kramer brilliantly teases that out in solid historical context. But even Buffy fell victim to modern audience’s inability to embrace women standing alone in their strength and principles. Buffy had several fraught relationships with men—Angel, Spike, and the military buffoon, Riley. Yet, ultimately, Whedon refused that sentimental view. The backlash in fiction has occurred, in my view, with the extremely popular series for the Youth market, Twilight, and its copycats in fiction and film. The heroine is again weak and troublingly shallow. The television series Grimm has some kick-ass women, but, as Mallory has noted with Supernatural, it took some time (and perhaps young women’s protests) to give these women some screen time. It certainly was my hope that Bad Girls would foster rethinking such weak-willed female leads as in Twilight to the more challenging women of Buffy and Saga.


  • Q (CR): Have either of you used this collection in a class? If so, I’d love to hear how it was received. I would think that the discussions could become emotionally charged. What did you learn about your students? Who surprised you?

MY: Not yet! I taught a class on Bad Girls in Literature, Legend, and Popular Culture in Spring 2017, just before the book came out. I did provide pre-publication copies of a few essays (our secret!) to students who focused their major papers on related subjects. Since my course covers Bad Girls from the Hebrew Scriptures and ancient Greek texts to the present, I probably won’t have a chance to use the book as a whole. But I will continue to recommend particular essays for individual projects. Still, I do think it could be used very effectively in a class focused on popular culture or women’s studies. And I would certainly love to hear how it might be received. I hope anyone who does make use of it will contact us and let us know.

JC: Unfortunately, I did not have the opportunity before my retirement at the end of the 2017-18 academic year to use this collection in the classroom. I taught my first “Bad Girls” class as a senior seminar in 2003 and a graduate course a decade later exploring historical and fictional “bad girls,” including Sappho, Margery Kempe, Catalina de Erauso’s Lieutenant Nun, George Sand’s Marianne, and, of course, Margaret Atwood’s Handmaid’s Tale. As Mallory and I started talking about putting this collection together, we realized that we had been teaching “bad girls” most of our careers! I am sorry that I won’t get an opportunity, at least as far as I can see it now, to incorporate this collection into a course.

  • Q (CR): What article most surprised you?

MY:  I’m partial to all of the essays in the book, of course, but I do think the essay on Saga is especially revealing and insightful. Most surprising to me—though I admit this just reflects my own prior ignorance—is that it was written by a young couple from Bucharest. I had no idea American graphic novels are of serious interest in Romania.

JC:  I am very proud of the diversity of the subject matter and the insightful and careful scholarship of the essays in this collection. These reveal and often explode ancient and modern myths about women’s worth and capabilities that hide in plain sight and persist in popular cultural media. But, for me personally, it is also Mihaela Precup and Dragoş Manea’s essay on Saga that is the most revelatory, coming to it as I did with an uninformed (and, yes, ignorant) prejudice against graphic novels. I must let their words about the significance of the Saga series be my last words on this. In their introduction, they rightly assert that Saga “subverts staid representations of gendered subjects and locates in the act of productive alienation an oppositional praxis that remains crucial for the feminist project.”

Thanks to Mallory and Julie for engaging with me about this knock-out anthology!  And just to remind readers, here’s the publication info.

Bad Girls and Transgressive Women—Review!


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Are you looking for a provocative collection of essays for your syllabus this fall? Take a look at Bad Girls and Transgressive Women in Popular Television, Fiction, and Film, edited by Julie A. Chappell and Mallory Young (Palgrave Macmillan 2017). The title caught my attention—my new sleuth, Kate Clifford, is a woman I consider transgressive in her place and time, and I was keen to see what other artists were doing, and what scholars had to say about them.

What I look for in an anthology is a variety of perspectives, an array of ideas, with a sense of gazing through dozens of facets cut into a topic, each time finding a fresh vista, a new consideration. I was not disappointed.Chappell and Young provide that in their selections, and entertain as well. As I read I imagined what lively discussions this book would inspire in a classroom. The book appeared before the #MeToo and #TimesUp hashtags shook things up, and reading it now it can seem a prequel, but the book stands on its own. Thirteen essays on popular culture ranging from the TV series Buffy the Vampire Slayer to the graphic science fiction series, Saga, with stops in between for thrillers (Lisbeth Salander in The Girl with the Dragon Tattoo), crime novels (Kathleen Mallory in the series by Carol O’Connell), how Medusa’s image changes over time, the tropes of the mean girl queen bee and the angry black woman, domestic disarray in chick lit… Check out the table of contents here.

In her introduction, Mallory Young spells out the legacy being explored: “The ancient Hebrews’ Eve and the ancient Greeks’ Pandora were among the first of a long line to enter the annals of literature and legend by displaying their inability—or refusal—to play by the rules. As the list of historical, mythological, and literary bad girls grew, so did the patriarchal collection of condemnations against them. Eve’s insubordination becomes the justification for centuries of her daughters’ subordination. Works of literature, conduct manuals, sermons, ballads, and plays throughout the medieval and early modern western world confirmed the stereotype, enforcing the good girl/bad girl, Eve/Mary distinction. Women could be passive, voiceless, and powerless—worthy of praise—or vengeful, violent, promiscuous, disruptive—requiring restraint.”

The questions explored in the anthology: “Why in a postfeminist world are women still so often depicted as threats to social order? How have those depictions changed over time? What are the contemporary parameters of ‘badness’ in the popular mind? How has the use of violence as a method of resistance affected those women who wield it? How has the diversity of race, ethnicity, and even species reconfigured the bad-girl paradigm? Are those women who engage in transgressive actions merely upsetting social norms or actually challenging or even subverting the status quo? And finally, is bad-girl behavior as represented in popular texts truly transformative and empowering—or simply playing into a commercialized and ultimately non-threatening reestablishment of women’s traditional roles?”

Reading this collection inspired me to pay closer attention to the assumptions underlying popular culture. Some examples: K.T. Saxton concludes in her article about Vera Caspary’s Bedelia, “capitalism, nationalism, and heteronormative patriarchy are the hazily imagined romantic fictions, peddling the fantasies of the market, state, and gender norms as happy endings.” In J. Gwynne’s article about teachers and transgressive comedy, he notes that “within many comedic genres, women as individuals have been subject to ridicule and denigration, not least because their objectification by comedy is connected to their subordinate position within the wider culture.” E Johnston uses the evolving image of Medusa—monstrous female or victim of male aggression—“to bring into relief compelling evidence of a thriving ‘rape culture’ within contemporary film.” More change: K. Waites describes how far we’ve come from “the femme fatale, the earliest emanation of Hollywood’s warrior woman, who uses her sexuality to manipulate men and exploit the white, hetero-sexist capitalist system for personal gain”; in contrast, the current warrior woman “investigates and attacks” the system. She describes Lisbeth Salander (The Girl With the Dragon Tattoo) as “a complex figure unique to the postfeminist world, one that operates at the margins of the entrenched system.”

I thoroughly enjoyed it.  The overall tone is “provocative” in the very best meaning of the word, arousing interest and, yes, reaction. It will wake you up. A timely book. I’ve come away with a long list of books/articles to read, TV series to revisit or watch for the first time (revisit Buffy, try The Walking Dead when Michonne enters the story—I think I’d like her.), ditto for films.

Watch this space for a Q&A with the editors!

After reading this, I’m even more proud of the transgressive woman I’ve created, Kate Clifford. I can’t wait for you to read the third book in the series, A Murdered Peace, out in October!

A Writer Reading: White Fang by Jack London


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**warning: geeky writer post

For the past several years I’ve been browsing books about wolves because, well, I’m writing a book entitled A Conspiracy of Wolves. In my research one book kept rising to the top: White Fang by Jack London. For a while I ignored it, was even, I confess, annoyed that it kept showing up, an old book, surely something better had been written about wolves. But at last I decided to read it, see what all the fuss was about. [Yes, I know, most people read this as children, but somehow I missed it despite loving books about the wild.]

Wolf-wise (oh, how I love the implication of that pairing), it’s a delightful book in many ways, though not informative about wolf packs in the wild. His subject is the formative experience of the eponymous canine, a study of nature vs nurture, to an extent.

I began this post several days ago, saying “I don’t like to write about books I’m still reading, but the introduction of a new character, ‘Beauty Smith’, stopped me cold last night. I didn’t want to read further. Now that intrigues me.” I’ve since finished the book, and I can attest to the page-long description of the odious Beauty Smith being the point in the book at which my enthusiasm flagged; it never recovered. What happened? I thought I’d share with you my experience as a writer reading a book but also reading a writer.

Let me first explain London’s point of view in the book. We begin in the head of one of a pair of men being tracked and terrorized by a pack of starving wolves, led by the female wolf who will give birth to White Fang. A few chapters in, the point of view switches to the female, and then, fairly quickly, her pup White Fang, as he discovers the world of the cave in which he’s born, and then ventures forth into the Alaskan wilderness. But London does not limit himself to the close third person; in his own voice he provides background, details of the landscape, and, in a sense, translates for us White Fang’s perceptions. And, increasingly, London adds to this his very human commentary on White Fang’s limitations as a wolf.

In How Fiction Works (Picador 2008, pp. 6-7), James Wood discusses this authorial voice:

…omniscient narration is rarely as omniscient as it seems. To begin with, authorial style generally has a way of making third-person omniscience seem partial and inflected. Authorial style tends to draw our attention toward the writer, toward the artifice of the author’s construction, and so toward the writer’s own impress. …Tolstoy comes closest to a canonical idea of authorial omniscience, and he uses with great naturalness and authority a mode of writing that Roland Barthes called “the reference code” (or sometimes “the cultural code”), whereby a writer makes confident appeal to a universal or consensual truth, or a body of shared cultural or scientific knowledge. *

* He means the way that nineteenth-century writers refer to commonly accepted cultural or scientific knowledge, for instance shared ideological generalities about “women.” I extend the term to cover any kind of authorial generalization.

Having read a great deal of 19th century lit, I am familiar with this sort of authorial voice, and found London’s comfortable for more than half of the book. However, once I reached the introduction of the clearly bad character at the fort to which White Fang accompanies his native American owner, the authorial voice became far too noticeable. I felt London intruding to instruct me in the “cultural code”, and telegraphing so specifically what was coming that I began to speed read, which, for me, is a sign the author has lost me. As I posted on Goodreads, I give the novel a 5 star up to that point, and a 3 after that, which is actually quite generous. I stayed with the book only because I was curious how London would depict White Fang’s reaction to a city, and then the sophistication of his new owner’s estate (complete with chickens and other dogs). There were delightful moments, but they were drowned out by the “instructive” narration.

After pondering this for a few days and reading some critical material about London’s work I appreciate that the split is intentional: he believed man’s “civilization” was far less noble than the wild, and that man was ennobled by embracing the wild. White Fang’s final owner is clearly meant to seem a cut above those around him, appreciating White Fang for his wildness. He meant to leave him in the wild, but White Fang insisted on staying by his side. So be it. I understand, but it still doesn’t make it more palatable for me.

And yet… this intrusive narration might be completely acceptable if performed by a traditional storyteller—an oral performance, with dramatic pauses for effect, droll asides, expressive body language. In fact, as I write this I can easily imagine enjoying such a performance. I also suspect I would have been oblivious of this aspect of London’s style had I read the book as a child, when I simply devoured stories. (Critical reading is an occupational hazard for a writer.) And I’m quite certain I would have found the narration comfortable had I read it at the time it was published, 1906, when the intrusive narrator was more common in fiction than it is now.

All in all, I’m glad I read it, it’s provided much food for thought, and inspired a geeky blog post. (And I fell in love with White Fang.)

I’m now happily reading Chris Nickson’s new book, The Tin God. Has nothing to do with the Owen Archer mystery I’m writing, it’s just a treat at the end of my day.

Cover Reveal: A Murdered Peace (Kate Clifford 3)


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I have been truant far too long! But here I am, unveiling the cover for the third Kate 71dnq3tRZnLA Murdered Peace-ADClifford, A Murdered Peace, which will be published on 2 October in the US, UK, and Canada. At long last Kate is depicted with a bit of weaponry and one of her wolfhounds. I’m pleased. Yes, I know, that’s the ruins of Clifford’s Tower in the present, not York Castle as it would have been—far larger, walled, a true castle complex, but one must choose one’s battles.

Here’s the copy for the book:

It is deep winter in York, 1400, the ground frozen, the short days dimmed with the smoke from countless fires, the sun, when it shines, low in the sky. It is rumored that the Epiphany Rising, meant to relieve the realm of the Henry the usurper and return King Richard to the throne has, instead, spelled his doom. As long as Richard lives, he is a threat to Henry; so, too, the nobles behind the plot. The ringleaders have been caught, some slaughtered by folk loyal to Henry as they fled west, and the king’s men now search the towns for survivors.

A perilous time, made worse for Kate Clifford by the disappearance of Berend, her cook and confidante, shortly after Christmas. Her niece saw his departure in a dream—he said he was honor bound to leave. Honor bound—to a former lord? One of the nobles who led the uprising? Is he alive? She is hardly consoled when Berend reappears, wounded, secretive, denying any connection to the uprising, but refusing to explain himself. When he is accused of brutally murdering a spice seller in the city, Kate discovers a chest of jewels in his possession. Some of the jewels belong to her old friend Lady Margery, wanted by the king for her husband’s part in the uprising. For the sake of their long friendship, and the love she and her wards bear for him, Kate wants to believe Berend’s innocence. So, too, does Sir Elric. And he has the powerful backing of the Earl of Westmoreland. All Kate need do is confide in him. If only she trusted her heart.

I’ve just recently completed the final edit and it’s now with the copyeditor. For this edit I read the manuscript aloud, listening for repetitions, infelicitous language, and what I think of as the overarching melody of the book. It’s remarkable how much more I catch when I’m reading aloud.

What struck me was that although the action of the book arises from the Epiphany Rising and Richard II’s imprisonment in Pontefract Castle, it’s the characters who carry the story. All the characters I’ve come to love–Kate, Berend, Elric, Lille, Ghent, Jennet, Eleanor, Marie, Petra, Phillip, Lionel (well, I don’t exactly love Lionel), Clement, Griselde, and a few new to the series. And that’s just how I want it to be. There is a great deal of sorrow and conflict, but some sweet joy as well. I’m proud of it.

Meanwhile, I’m hard at work on the 11th Owen Archer, A Conspiracy of Wolves… more about that soon!


A Holiday Gift For My Readers: An Owen & Lucie Chapter


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As a gift to all of you who have waited so patiently, I break my rule of not sharing a book before I’ve completed it: here is the (current) beginning of Owen Archer #11. I hope you enjoy it, and may the new year bring you joy, wonder, and peace.

 A Conspiracy of Wolves

© Candace Robb 2017

The Dogs in the Night

York, Autumn 1374

The river mist curled round Magda Digby’s rock in the Ouse, dimming the reds and golds of sunset, distorting sound, creating shifting shapes that danced at the edge of Alisoun Ffulford’s vision, chilling her fingers until they were too stiff for the close work. She gathered up the feathers, arrow shafts, and knife with which she had been fletching and returned them to her work basket. She paused with her hand on the door latch, listening to dogs baying. Upriver, she thought, in the Forest of Galtres. “May they be safe,” she whispered. Like St. Francis of Assisi, she felt a bond with animals, so much so that Magda handed over to her all animals brought to the house on the rock for healing. Alisoun preferred these patients to the human ones. Their needs were clear, they did not try to mask their illnesses, and, once healed, gladly departed without complaint or blame. She strained to hear the sounds beneath the dogs’ baying. A man’s angry shout. Another. The same? She could not be certain. The dogs continued as before, which she took to mean they were unharmed. Good.

She lifted her gaze to the blank eyes of the upside-down sea serpent on the bow of the ship that served as the roof of Magda Digby’s house. A cunning choice of building material, the part of the ship with the figurehead. The sea serpent was widely believed to have magical powers. Not that Magda ever confirmed or denied it, but as folk had the same suspicion about her, their unease about the sea serpent and the Riverwoman gave them pause about crossing either one. Nodding to the enigmatic carving, Alisoun whispered, “Whoever trespassed upriver will think again.” A subtle draft and a warmth on the back of her neck, as if the figurehead responded in a gesture of reassurance, felt rather than seen. There had been a time when it had frightened her, but that had passed as she learned to trust to the mystery of Magda Digby’s healing gifts. Now, she took it as a blessing.

Stepping inside, she traded the damp chill and rich, earthy scent of the tidal Ouse for an aromatic warmth, the brightly burning fire teasing out the scents of the dried plants and roots hanging in the rafters to dry. Earlier, she had escaped from its warmth to the cool, fresh air without; now, chilled by the mist, she was grateful for the heat, and the homely familiarity. But she was not at ease—the dogs baying in that eerie mist…

She steadied herself by calling to mind the remedies for dog bite and checking her supplies. Although Magda said folk knew to give guard dogs a wide berth, there was always a first time. Betony for the bite of a mad dog, pound in the mortar and lay on the wound. Or plantain. Vervain and yarrow to be mixed with wheat. Burdock and black horehound need salt. Calendula powder in warm water to drink. She had plenty betony and calendula powder. Though she was unlikely to need it, she was prepared.

Now to her evening meal. The fragrance of the stew pleased her. She had learned to use herbs to season her cooking, making almost anything palatable, even a coney that some would have rejected as too old and gristly for the stew pot. With Magda away, Alisoun felt obliged to stay close to the small rock island in the tidal river, so that she might not miss those who came to the Riverwoman’s house for healing. She dare not range too far afield in hunting for food, making do with fish and small prey like the aged coney that had appeared on the riverbank nearby.

She paused with her spoon halfway to her mouth as a lone dog began to bark, an angry sound, and then a man’s startled shout, followed by a loud curse, a few more cries, more pain than anger. Then silence. Alisoun lowered her spoon, bowed her head, and pressed her shaking hands together in prayer. She stayed there until she felt the tremors quiet.

Though Magda scoffed at prayer, she encouraged Alisoun to use her apprenticeship to develop her own skills as healer, not become a second Magda. All that goes before shapes thee. Even thy habit of prayer. Magda honors that. Alisoun had little faith that her prayers were heard—God and the Blessed Mother had stood aside while she lost all her family to the pestilence. But something in the words, the ritual, comforted her. As it did now.

According to Magda, to pay attention to how Alisoun felt about her choices was to heed her inner wisdom, whence came her gift for healing. It was a miracle that Magda had taken her on as an apprentice. In Alisoun’s grief as she watched her family die of the pestilence, she had blamed the Riverwoman for her mother’s death, and demanded that the healer make amends by teaching her all she knew. Magda had given Alisoun shelter for a time, let her observe as she might, and then sent her away to serve as a nurse for Captain Archer and Lucie Wilton’s children, and as a companion to successive invalids. Praying that they were tests, Alisoun had done as she was told—though not without frequent complaint. And though Magda had warned her time and again Thou hast fire in thy eyes, and it is blinding thee, she continued to invite Alisoun to observe her, and, in time, to attend her. The turning point had come at the deathbed of Archbishop Thoresby, where Alisoun had served as the Riverwoman’s assistant. From that time forward, Magda referred to Alisoun as her apprentice—and sometimes simply as a healer.

Looking back, Alisoun wondered at Magda’s patience, and did her best to deserve her gift. She was keenly aware of the trust Magda placed in her, staying behind to see to all who came to the Riverwoman’s rock while she was away. So far Alisoun had done well, challenged only by her usual doubts about her ability, her calling to be a healer. Not when at work—when tending the ill or injured she thought of nothing but how she might best serve. Her doubts arose in the quiet moments. Pray God that was the worst of it. If she disappointed Magda, she did not know what would become of her. Magda steadied her, coaxed her into believing in herself. Without her…

Too much thinking. She finished her modest meal and tidied up, then settled on a stool by the fire and tried to empty her mind, listening to the fire snap, the house creak as it settled for the night, the drying herbs rustle above in the draft from the unglazed windows. With the tide out, the sounds of the river receded to a soft gurgle. Until this evening she had welcomed this part of her day. But the solitude wore thin. She missed Magda and looked forward to her return.

The Riverwoman had accompanied Lucie Wilton and her family to her late father’s manor to the south, Freythorpe Hadden. It was a somber traveling party, escorting the body of Philippa, Dame Lucie’s aunt, for burial. The elderly woman had died in her sleep after a long decline, cared for all the while by Dame Lucie. Most fortunate woman. When Alisoun served as nursemaid in that household she had chafed under the old woman’s watchful eye, but in time she had grown fond of her. Dame Philippa loved to tell tales, and would hold Alisoun’s hand in both of hers as she reached the conclusion, leaning close and looking straight into her eyes. The tales had taught her so much about the important families in York that the city felt less foreign to her—having grown up on a farm upriver, it was a gift.

So many gifts, so undeserving.

Alisoun was roused from her reverie by the clatter and squelch of someone stumbling on the slippery rocks that led from the riverbank on the north to Magda’s rock in low tide. The earlier unease returned, and she fought the impulse to string her bow and ready an arrow as she rose to fetch a lantern. But Magda’s training steadied her. Those seeking a healer should be greeted with open arms, not an arrow aimed at their heart.

In response to a firm rap on the door she swung it open, lifting the lantern high as she intoned, “All who seek healing are welcome here.” Magda need not bother with such greetings. Her mere presence reassured the supplicant. But Alisoun did not yet have that gift.

A man stood on the porch, blocking the fading light. “I seek the Riverwoman.” Pain constricted his voice. He stood slumped, one arm cradled in the other.

“I see you are injured. Dame Magda is away, but she has entrusted me with the care of those who come seeking her,” said Alisoun.

Adjusting the lantern so that she might look at the arm he favored, she noticed him glancing up and bobbing his head at the figurehead, a ritual of respect she had seen before. The injured man was Crispin Poole, a merchant recently returned to York, who had consulted Magda about the pain he suffered in his stump of an arm. Long healed, but still troubling him. Tonight he cradled it as it bled through the sleeve of his jacket.

Saturated, she found when she touched it. She felt him trembling, smelled his sweat. “A knife wound?” she asked.


She remembered the baying. “I heard several dogs, then one.”

“Several? No, only the one.” He said it as if he would brook no argument regarding the number. “A hell hound.”

“No doubt it seemed so when it sank its teeth into you.”

“A wolf, I think, though I am told the sergeant of the forest rid Galtres of them.”

Not quite. In winter a small pack came down from the moors, seeking food. They did not harm folk unless threatened. And it was not yet winter. Alisoun might reassure him of this, but Magda’s instruction was to say only what thou must. Thou art here to listen.

“Whether dog or wolf—or hell hound, the remedies are the same,” said Alisoun. “I have some prepared.”

“When will the Riverwoman return?”

“I am not sure. But I do know your wound will not wait.”

“Mistress Alisoun, forgive me, but are you not still an apprentice?”

She might say much to that, but she chose her words. “I have seen to a variety of wounds.” She stepped aside to allow him into the house if he so chose.

He hesitated, then ducked beneath the lintel, and entered.

As she closed the door Alisoun looked out into the gathering darkness, puzzled by the absence of a horse on the bank. Most who traveled through the forest rode if they had the means, and Crispin Poole was wealthy. Or so they said. So he had been on foot when attacked. Doing what? She imagined Magda standing before her, a bony finger to her lips, shaking her head. Thou art a healer, not a spy.

Crispin had settled on his usual bench near the fire. That would not do.

“Forgive me, I should have said—for this you must sit at the worktable.” She led him across the room, conscious of how he must hunch over to avoid the rafters and the hanging herbs. Tall like Captain Archer, yet otherwise so unlike him.

Lighting a spirit lamp for the close work, she instructed him to rest his injured arm on the table. With care, she slipped a hand beneath it so that she might move it about in the light to study the wound. The dog had sunk its teeth in deep. Bone deep. “How did you manage to get it to release you?”

“I—shouted and—  I could not tell you what convinced it I was not its dinner. All I could think of was retrieving what’s left of my arm.”

“You did not kill it?”

“No. Of that I am certain. We locked eyes as we each backed away.” He shivered to describe it.

The experience had unsettled this bear of a man. She wondered what he had done to so anger the dog for it to attack. And the earlier baying. Why did he deny what he must have heard?

She reminded herself that a healer must put the good of the patient before her curiosity. He must not feel compromised. She took a deep breath. Enough talk.

“Some brandywine before I clean it and stitch the flesh together? My ministrations will worsen the pain before relieving it, the worst of it.” And calm him, she thought. She needed him steady.

“I would welcome it.”

Slipping away to pour him some, she also fetched warm water for the calendula drink. With such a deep wound, best to give him that now, and send him home with enough for a day, as well as packing the wound with a paste of betony. And boneset, in case the bone had been damaged.

She sensed his intense eyes following her hands as she worked, but he kept steady and silent. Nary a jerk or a wince. He was accustomed to sudden, sharp pain. Well, the arm. Of course.

It was only when Alisoun was tying the bandage that he spoke again.

“You are young to have such skill.”

“Our queen was younger than me when she took on the role of the king’s helpmeet and mother to all the realm. And Princess Joan—”

“I did not mean to insult you. I wish only to thank you for your gentle, healing touch.”

Alisoun felt her face grow warm and was glad only her hands were in the lamplight. Apparently she was too quick to recite her litany of females who had been treated as grown women by the age of sixteen.

“I pray you,” she said, “I would thank you not to mention my outburst to Dame Magda.”

Crispin nodded. “And I would ask that you tell no one of this incident,” he said. “Not even Dame Magda.” He neither raised his voice nor seemed excited, yet he made it clear he expected her to agree. Something in his eyes.

“That will be difficult if she returns before you are healed.”

“I am confident that you will find a way. My efforts to impress the city merchants would be undercut by tales of such an incident. And I do not wish Dame Magda to know me for a fool who had challenged something so wild and powerful as a wolf.” A slight smile brightened his wide, dark, thickly lashed eyes. An interesting face, unscarred, yet with the uneven color and roughened texture of someone who spent much time at sea. His heft was characteristic of a muscular man going soft as he aged and grew less active. Magda had called him a merchant adventurer—though more the latter, suspecting he earned more of his wealth by eliminating his partners’ competition than by his eye for a bargain. For such a man to be so disquieted by an encounter with a dog, and now this secrecy—the weight with which he made that request belied his flimsy explanation. What had so shaken him?

Secrecy added cost to treatment for those who could afford it—Magda’s rule, as it helped her see to those who had not the means to pay her.

And, indeed, when Alisoun named her fee, Crispin did not object, drawing the silver from his scrip without comment. Hardly the pittance one might feel compelled to pay to avoid looking the fool.

She handed him the pouch of calendula powder, with instructions.

“I am grateful to you, Mistress Alisoun. May God bless you for the work you do.”

She stepped out the door after him, glad to see that she had worked quickly enough that the tide was just beginning to come in.

“I pray you, did you encounter the dog nearby?” She hoped he would find it an innocuous question. “I thought to forage for roots at dawn. But having tasted blood, it might be keen for more.”

“Near enough,” he said. “But if you have foraged in the forest all this while without mishap, I should think you will be safe. May God watch out for you, Mistress Alisoun.”

Crispin bowed to her and set off across the rocks, his boots getting wet in the slowly rising water. I should think you will be safe… Why? Had someone set the dog on him? He’d said he’d been a fool to challenge it. Then why had he done so? And why had it not simply kept its distance as animals commonly did in such encounters? And his denial of the earlier baying. There was something more to this.

As she lingered in the doorway staring at his back she caught a movement to her left. A figure stood at the edge of a stand of trees. Twenty, thirty paces up the riverbank. Watching Magda’s house? Or Crispin Poole?

She thought to warn the injured man, but he had already reached the bank. She might wade across, but why? If he could not see to warning her away from danger, why should she bother? She had fulfilled her duty as a healer, tending his wound.

Glancing back toward the stand of trees, Alisoun saw no one. “My imagination?” she asked the sea serpent. No response. Not a good sign. Once inside she strung her bow and set it near the door, with a quiver of arrows. The tide might be coming in, but she would take no chances.

* * *

A week later, Alisoun woke shortly after dawn, having dreamt again of Crispin Poole being savaged by a hell-hound, a giant creature, black, with blazing eyes. Shivering, she stoked the fire, lit a lamp, and checked the young woman on the pallet by the fire, grateful for an absorbing task. Young Wren’s head was cool. God be thanked, the fever was gone. A simple miscarriage, nothing worse. And, for this serving girl, a blessing. A child would bring only grief.

Gently shaking the girl awake, Alisoun helped her sit up so she might drink the honey water laced with herbs to stop the bleeding.

“If I hurry, my mistress will never know I was gone the night,” said the girl in a hoarse whisper. Her throat was dry from the herbs that stopped the bleeding. The honey in warm water should help that.

“Drink that down,” Alisoun said. “Then we will talk.”

The girl tilted back her head and drank it down, holding out the empty wooden bowl for inspection, her pale eyes watching Alisoun’s face for a sign of argument. “I need the work. I’ve nowhere else to go.”

This is how it was. “Of course. You’ve no fever. Let’s see if you can stand.”

With Alisoun’s assistance, the girl swung her feet down and rose with nary a wobble, even taking a few hesitant steps. “Oh!” She lifted her skirt, saw the watery blood trickling down the inside of her short, fleshy legs.

“Tend it as you do your courses and no one’s the wiser,” said Alisoun. “Your womb is empty.”

“Was it—?”

Alisoun shook her head. “Too early to know aught.”

“Will you help me to the riverbank?”

She should prefer that the girl lie abed for a day. This was the hardest part for Alisoun, keeping her counsel. Thy opinion is naught but interference, Magda would say. If thou wouldst care for her again, do what she asks and no more. She must allow the girl to return to the house where her master lay in wait, and he would continue to lie with her until she conceived a child and carried it long enough for his wife to discover her condition, tossing her out onto the street as a Magdalene.

Unless the charm worked. Alisoun had whispered it over the girl as she slept, a charm said to render a man impotent when he touched her. Magda was not here to chide Alisoun for using it. Even so, she had shivered as she whispered the words, imagining Magda’s sharp eyes watching from afar. No one knew the extent of the Riverwoman’s powers.

A risk. But Magda had said that Alisoun must find her own way…

“Will you?” the girl repeated, tugging on Alisoun’s sleeve with the dimpled hand of a child.

“If that is what you wish, come along while the tide is low. I have prepared a powder for you to add to ale or water and drink down if the pain returns.”

“I cannot be lazy…”

“This is not so strong that you cannot work as usual. You need not be in pain.” She pressed it into the girl’s hand.

Once she had escorted the child safely through the ankle-deep water, Alisoun returned to the hut and sat down by the fire, drying the hem of her gown while planning her day. She should see Muriel Swann, make certain that the flutters she had felt days ago were indeed the child moving in her womb. Not a young woman, this was the first time Dame Muriel had carried a child long enough to feel it quicken, and the experience had both excited and frightened her. Alisoun added to her basket a calming potion for Muriel’s headaches, and a tisane to increase her appetite.

A memory intruded. A dog in the night, and a man’s cries. Terror. Agony. The girl had awakened, calling out in fear, and Alisoun had risen to comfort her, assuring her it was just a bad dream.

But it had been no dream. Had she been alone, Alisoun might have stepped outside, listening so that she might gauge whence came the cry, then set out at first light to see if she might be of help. But the girl was her first responsibility.

Now she gathered the remedies she had administered to Crispin Poole a week earlier. As it was light, she might walk upriver, see whether she could find the injured man. She placed the basket with all she might need on the small chest by the door, then fetched her bow and a quiver of arrows. Poole had not returned, nor had she seen him or heard anything of him, and that silence, that absence made her uneasy.

That, and the dreams.

* * *

A soft rain in the night had freshened the late summer foliage in the meadows and woodland along the road from Freythorpe to York and tamped down the dust, for which Owen Archer was grateful. He knew the misery of riding for hours blinking away the dust in his one good eye, a scarf protecting his nose and mouth. For Lucie and the children, riding in the cart ahead of him, there was still the discomfort of a bumpy ride, but he heard no complaints.

For a while they had traveled behind a group of players who serenaded them with songs and japes, a felicitous arrangement, though he hoped that his eight-year-old daughter Gwenllian would forget the bawdier lyrics. Now that the players had moved on, the monotonous rattle of the cart and horses was punctured now and then by sounds of reapers and gleaners in the fields, though not as many as on their journey to Freythorpe. Harvest was almost over.

He enjoyed watching his wife Lucie with the little ones, admiring how gracefully she sat, back straight despite the jostling. At the moment Gwenllian leaned over her brother Hugh, her dark curls veiling her face and mingling with the five-year-old’s bright red hair. She was teaching him a string game. Lucie held Emma, the baby, guiding the two-year-old’s chubby fingers in the intricate patterns. Emma had a gurgling laugh that easily rose to infectious peals of laughter, resulting in a general jollity. Alfred, Owen’s former lieutenant in the archbishop’s household guard, sat in front handling the carthorse, his companion the children’s chatty nurse, Lena. Every now and then Alfred would nod and shrug, his way of keeping the peace while only half listening. A tactic Owen envied. But years of playing the archbishop’s spy had turned him into a deep listener. Pity. He could use a deaf ear while riding beside the talkative Geoffrey Chaucer.

Yet he was certain his habit of listening had strengthened his marriage. Lucie smiled and laughed with the children now, but last night Owen had held her as she wept for her aunt, and all the years she had wasted blaming Philippa for her father’s decision to send her to a convent after her mother died. He had listened until she exhausted herself, then did his best to persuade her that her tender care of her aunt for the last years of her life more than made up for those long years needlessly estranged. But she had been inconsolable. Bless the children. They seemed the best balm for her spirits.

“Lucie is strong,” said Geoffrey, trespassing into Owen’s reverie.

“I know that.”

“She grieves in her own way.”

“What do you know of her grief?”

“Forgive me, my friend. I meant only to cheer you.”

It was churlish to resent Geoffrey’s presence, Owen knew that. He had hurried to Freythorpe Hadden upon arriving in York and hearing of Dame Philippa’s death. Geoffrey had been fond of her, and she of him. While biding with them in York after the archbishop’s death, Geoffrey had endeared himself to Lucie by keeping her ailing aunt entertained. Arm in arm, he and Philippa would stroll round St. Helen’s Square and down Stonegate, she telling him what she could remember of the people passing by—her memory came and went—he embellishing the bits with invented tales of their younger, secret exploits, inspiring much laughter. She could talk of nothing else when he was called back to London. Such a storyteller, he is! And wise.

“Forgive my temper. It was good of you to come,” said Owen.

“I lost my most appreciative audience with her death.”

“That you did.”

“Hah! I made you smile. I count that a victory worthy of celebration with tankards of Tom Merchet’s fine ale this evening. Will you join me?”

“If all is well at home.”

“It will be. Your son is a trustworthy young man.”

Jasper, their foster son and Lucie’s apprentice, had been left in charge of the apothecary. By choice. He had been eager to prove he was capable of seeing to the business for a fortnight.

“As I said,” Owen muttered.

“I promise not to press you about the prince’s proposal.”

“That may be the least of my concerns.” Owen gestured toward two men on horseback approaching their small company. One wore a Benedictine habit, and rode with a familiar grace.

Geoffrey shaded his eyes. “You know them?”

Alfred had seen them as well, and slowed the cart. Owen rode up beside it.

“Can that be Brother Michaelo?” asked Lucie. “I thought he had agreed to stay as Archdeacon Jehannes’s secretary. But if he is on the road…”

Upon Archbishop Thoresby’s death his secretary, Brother Michaelo, had found himself without a home, without a purpose. A Benedictine, he had left the Abbey of St. Mary’s in York during the incumbency of the reasonable Abbot Campion. Unfortunately, the current abbot, knowing of Michaelo’s penchant for handsome young men, and a long-ago attempt to poison the abbey infirmarian, refused to receive him back in the fold. An earlier plan to return home to Normandy and seek a place in a modest priory near his ancestral home had clearly been one Michaelo pursued with reluctance. The compassionate Jehannes, Archdeacon of York, had suggested the monk stay with him for a time, believing there must be work for a man of Brother Michaelo’s experience in the city. Jehannes had need of a secretary, though not sufficient to keep Michaelo regularly engaged. He hoped to find other clerics who might need some of the monk’s time. But Michaelo’s reputation preceded him, and so far clerics proved reluctant.

“It is indeed Michaelo,” said Owen, “accompanied by Bartolf Swann, if I am not mistaken.”

“A strange pair,” said Lucie. “What business would Michaelo have with the coroner of Galtres Forest? Do you suppose they are taking ship together?”

“I very much doubt it. Michaelo would drive Bartolf mad with his fussing.”

The elderly Bartolf was far more likely to be riding south to consult with Magda Digby about one of his mysterious ailments, which, according to the Riverwoman, were merely signs of aging in a man who moved as little as possible and drank wine to the point of passing out every night. Though of sufficient status and wealth to hold the position of coroner, he dressed more like a laborer except on official occasions, his clothes ill-fitting as he shrank with age, his copious white hair kept somewhat under control by a felt hat crammed low over his forehead, his pale eyes peering out through a snowy, greasy thicket. Many a widow in York yearned to clean him up—he had once cut a fine figure, when his wife was alive, and many remembered him with fondness. Today, he looked as if his horse had dragged him much of the way.

Owen dismounted. “Master Bartolf, Brother Michaelo, good day to you,” he called out as the riders drew up beside him.

Benedicite, Captain Archer, Dame Lucie.” Michaelo’s delicately arched nose quivered with relief. “God’s grace is upon us, that we should meet you on the road home. We were on our way to Freythorpe.”

While the monk spoke, his companion had scrambled from his mount and made straight for Owen, latching onto his arm. “My son! My son! You must come at once. I’ve ordered them to leave him as we found him, though, God help me, it pained me to leave him lying in his own blood. But I said Captain Archer must see it all as it was. He will find who did this to my Hoban.”

“Hoban?” Owen looked up at Michaelo.

The monk crossed himself. “His son Hoban has been found dead in the forest. I have told Master Bartolf that you are the prince’s man and cannot be expected to help in this, but he’ll not be swayed.”

“I am nobody’s man at present,” Owen said.

“No?” Michaelo glanced over at Geoffrey Chaucer with a little sniff. “Your friend must be disappointed. But all the better for Bartolf Swann.”

Lucie reached down to touch Bartolf’s head. “This man needs care. Perhaps it is best that you let Brother Michaelo explain what has happened while I see to that gash on your head, Bartolf.” He had blood caked on his cheek and in the hair over his left temple.

“What do I care about my old head, Dame Lucie, my son is murdered—”

She had already risen and was stepping from the cart with Geoffrey’s assistance. “Let me see to you while my husband speaks with Michaelo.” She nodded to Owen and drew the old man toward the back of the cart, where she kept a basket of supplies.

Owen said a silent prayer of thanks for Lucie’s graceful intercession.

Once Michaelo dismounted, Owen asked him how he came to be escorting Bartolf Swann.

“Well you might wonder, Captain Archer. It seems he knows of your close friendship with the archdeacon. He thought to engage the archdeacon’s help in persuading you to take on the task of finding his son’s murderer. Archdeacon Jehannes advised him to leave you in peace to mourn Dame Philippa, but Bartolf would not hear of it.” Michaelo glanced over at the man with a look of distaste. “So many years serving as coroner, yet look at him— Did he believe his own seed immortal? But as I saw he could not be dissuaded, I offered to escort him to Freythorpe, as I know the way.”

“Father, what has happened?” Gwenllian asked sleepily from the cart.

“Hush, my love, it is some trouble in the city, nothing to do with you,” said Owen, kissing her and coaxing her to lie down beside her brother and rest. “We will be home soon.”

Lucie seemed to have noticed that Gwenllian had awakened and had drawn Bartolf farther off the road, in the shade of a tree. Alfred and Geoffrey held the man steady while Lucie cleaned and bandaged his wounds. As Owen went to join them he heard the old man muttering about dogs, his son’s throat torn, a bloody clearing near his home in the forest…

“He was savaged by dogs?” Owen asked Michaelo, who had followed him.

“So he says.”

“Bartolf’s dogs?” Swann kept a brace of hounds at his property in Galtres.

“He is adamant that his own dogs would never harm Hoban. But one wonders. Hoban’s purpose in riding out yesterday evening had been to bring the hounds back to his home in the city, where his father has been biding. This morning, discovering Hoban had not returned, Bartolf took a servant and rode out. They found him in a clearing. You see how little control he has. He might have alarmed the hounds.”

“And the hounds?”

“Gone. As is his horse.”

“Not at the house?”


“Why did he ride out in the evening?”

“I have asked as little as possible, Captain. I should say that he had enough presence of mind to request one of the York coroners to record the death, knowing he could not do so with any clarity.”

“The coroner will have left a guard over the body. Good.”

Lucie joined them. “I have given him something to calm him. He will soon sleep.”

Indeed, he seemed half asleep already, propped against the trunk of the tree, eyes closed, his breathing rough but beginning to calm.

Crouching down beside Bartolf, Owen gently roused him. “You will ride back to York in the cart with my wife and children, Bartolf. Alfred and Master Chaucer will accompany you.” He glanced up at Lucie. “Brother Michaelo and I will ride ahead.”

She nodded her agreement.

Owen and assisted Bartolf to his feet. “Michaelo says that one of the York coroners was out there?”

“Gerard,” said Bartolf, his voice weak. “Been and gone. Left his men to guard my son.” He clutched at Owen’s sleeve. “You will find my son’s murderer? You will see that justice is done?”

“I will go to the forest and learn as much as I can,” said Owen. “That is all I can promise for now.”

“Do not leave me behind!”

Lucie met them at the cart. “Bartolf, you and I must go to Muriel. Remember, she carries your son’s child. She must not feel alone.”

“Muriel. Oh, my poor daughter.” Bartolf gave a sob of dismay. “I meant to send for Mistress Alisoun. Pray God someone had the wit to do so.”

Thank you for reading!

Q&A with Dr. Sara M Butler: Forensic Medicine & Death Investigation in Medieval England


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I am thrilled to welcome to my blog Dr. Sara M. Butler, the King George III Professor of British History at Ohio State University, author of Forensic Medicine and Death Investigation in Medieval England. After using up several packets of book darts marking passages in her book, I approached her about an interview. Not only did she accept, but, as you will see, she answers my questions with such depth and breadth that I feel you will get a far better sense of the book from her responses than any summary I might write. Suffice it to say that existing studies regarding the discovery and investigation of suspicious death left me with more questions than answers about: coroners–who they were, their status, the makeup and purpose of their juries; investigators–who investigated, were medical experts involved, and what was considered sufficient evidence; and what constituted guilt as we think of it. Sara’s book answers all my questions–what a gift! She writes with the clarity of one who has honed her understanding by presenting the material to her classes and making note of what confused them. A remarkable book, and a joy to read. Thank you, Sara.

Q.  What drew you to this topic? Was it something that came up while researching another project? Something you’d been curious about for a long while?

A. I have always enjoyed a good murder mystery. As a child I read every Nancy Drew, Hardy Boys, and Trixie Belden mystery in publication, and harassed my two brothers to no end with my Hardy Boys’ fingerprinting kit that somehow always resulted with me turning one of them in to my parents as the culprit. As I grew older, I left the Hardy Boys behind, but still loved solving crimes. I toyed with the idea of pursuing a law degree, as many of my friends did, but I was less interested in working with people than mysteries. I had also fallen deeply in love with the Middle Ages and come to realize that historians are detectives in their right. They work with clues, piecing together a distant past that seems both familiar and oh-so-foreign at the same time.

This book also evolved out of a great appreciation for the coroners’ rolls, with which I first became acquainted during my doctorate at Dalhousie University (Halifax, NS). I was working on the subject of marital violence, a thesis that eventually resulted in The Language of Abuse: Marital Violence in Later Medieval England (Brill 2007). For this project, I read mostly legal records because the law is one of the few ways that real people (the peasantry, the middle class) left an imprint on the medieval record. I spent months looking over trial records from medieval England, which are generally brief and formulaic; for the most part, the records give so few details the best you can do is count them. This is not true of coroners’ rolls, however. Many coroners (or their scribes) were intent to record every juicy detail, especially when it came to domestic spats! Wives caught with their lovers in flagrante; husbands eager to explain away their abuse as “discipline”; neighbors bursting into homes in the middle of the night to restore the peace before an argument spiraled out of control – the coroners’ rolls help to bring the history so tediously documented in the trial records to life.

The one aspect that intrigued me most in this process was the coroner’s inquest jury, that group of men drawn from the visne (the region where the crime took place) to conduct an investigation into the events leading up to the sudden and unnatural death (coroners did not only investigate homicides, they also looked into accidental deaths and anything that seemed unnatural). Reading Thomas Green’s work (Verdict according to Conscience: Perspectives on the English Criminal Trial Jury, 1200-1800) helped me to understand why their verdicts were sometimes at odds with those of juries later on in the process: Green emphasizes that juries represent communal, rather than crown, values. This made me realize that juries had their own personalities and their own baggage, and by exploring their verdicts I might crack a window onto the lives of these captivating communities. All of my early work is focused on the jury and its impact on the judicial system and people’s lives, whether in cases of marital violence, abortion, suicide, or infanticide.

Q. You correct several concepts about the medieval coroner as well as coroners’ juries and investigating the crime scene. My impression is that most of the errors arose because scholars had too narrow a scope. How did this catch your attention?

A. Originally, I wanted to call this book CSI: Medieval England – of course, copyright got in the way, but this is very much how I approached the book. Assuming that my reader’s comprehension of homicide investigations was equally tainted by television as was my own, I wanted to answer those niggling questions about the medieval process of investigation that we were all wondering (and that often came up in the classroom when I teach “Medieval Crime”). How did they decide what was an unnatural death?  Who sat on coroners’ juries? If the coroner was not a medical practitioner, how did the coroner and his jury determine cause of death? And just how efficient was criminal justice without a police force and modern methods of investigation?  None of these questions had yet been answered sufficiently because the field of medieval coroners and their documents had been dominated by R.F. Hunnisett, the former assistant keeper of the Public Records Office who published extensively in the 1950s and 60s. Quite frankly, the feeling was that everything had been said about the coroner that needed saying.  I didn’t think that was quite true, but I could not have done any of this project without Hunnisett’s seminal work. I also think that the questions I had to ask of the coroner are a product of the era that I’m living in now, where we are much more conscious of the role played by average people in history, rather than always focusing on “great men.”

The central thrust of my book is that England was not, in fact, centuries behind the Continent when it comes to the use of forensic medicine, but rather the nature of the records hide the participation of the medical profession in death investigations.  England is often “othered” by Continental historians who just don’t understand the vocabulary of English law and who get irritated by the fact that greedy England hogs the spotlight, but also by English historians who choose to believe that England was unique, always dancing to the beat of its own drum.  However, the channel was not much of a barrier keeping knowledge out.  The English were well aware of how law was practiced on the Continent: remember that many of the king’s justices and sheriffs during the thirteenth century were university-trained clerics who studied in Paris or Bologna. They were not out of touch with Continental trends in jurisprudence or law enforcement.  The problem is borne from the records themselves. The purpose of English records of crown pleas (i.e. records concerning felonies) was financial: the king wanted what was owed to him to be closely recorded. The king was less interested in the details of the case or the methods of investigation. Accordingly, there was no need for a coroner to explain in writing that of course he had sought out a barber-surgeon to sit on the jury so that a proper examination of the corpse might ensue.

I spent a lot of time in this book trying to resurrect the reputation of the medieval English criminal process. Our capitalist mindset today makes it hard for us to understand that people in the English past regularly took on jobs that were unpaid and that did not deter them from working hard. We have a tendency to believe that you get what you paid for: thus, if coroners were unpaid, surely little could have been expected of them. The medieval records simply do not uphold this perspective. Yes, some coroners were lazy; but many others worked hard, showed up in a timely fashion, and were determined to do their best.

Q. Research is a process, never truly complete. Has anything come up in further research that you wish you’d been able to include in this book?

A. Not yet! But give me time.

Q. Were there any stories you wish you could have included?  Would you care to share some here?

A. What didn’t appear in the book will appear sooner or later in a blog that I write with Krista Kesselring and Katherine Watson:

Q. I came away from the book with a new respect for the medieval coroner and the jury process. I also have a new appreciation for the differences between now and then in the purpose of juries and the goals of an investigation/trial, as well as what is considered the important truth in the cases. Is there any particular instance of this that stands out in your mind? Did it change how you think about crime and punishment?

A. I read Richard Firth Green’s A Crisis of Truth: Literature and Law in Ricardian England (U of Pennsylvania P, 1999) back in the days of my doctorate and it was an eye-opening experience for me. Firth Green was the first to explain clearly that what we see as “truth” is not really the same as what a medieval jury understood as truth. When a trial jury took an oath to speak the truth, they did not mean about the events leading up to a crime and whether the defendant was in fact the perpetrator; they meant the truth about the man’s character. If they acquitted him, would he repent of his sins? Or, would he fall back into a life of crime? Could he be reintegrated into the community in a way that might restore peace and harmony?  The most important mental shift that is required to understand the medieval courts is that, despite what we see on television, they were not bloodthirsty. Hangings were fairly rare in the medieval period, and no one was eager to see a member of their community dangling from a rope. Most defendants were acquitted, not because their system of law enforcement was inefficient, but because it was a Christian society and they believed in giving people second chances.

My favorite case will always be the death of Roger son of Gervase, drawn from the miracle stories of St Thomas de Cantilupe, Bishop of Hereford. Roger was two years old and naked when he wandered out of his house in the middle of the night while his mother and father were at an all-night vigil praying for the souls of two recently deceased fellow villagers. Drawn naturally across the bridge leading to the castle where his father worked as a cook, the boy fell from the dark and icy bridge, smashing his infant body on the rocks below, and eventually freezing to death. The boy’s body was found the following morning. The coroners appeared immediately and began to conduct their investigation. Despite being prohibited from entering the scene of the accident while the coroners’ and their jury were embroiled in the minutiae of the investigation, one burgher climbed down to the child and bent a penny to Saint Thomas, promising to visit him at his tomb if he brought the child back to life. Lo and behold, Thomas heard his prayers and the boy began to move his right arm ever so tentatively. The burgher alerted the coroners and carried the frozen boy to his mother, who was half out of her mind with grief, and she warmed his naked body against her flesh. That night the entire village, including the coroners, celebrated with a procession to the church, singing Te Deum Laudamus.

This miracle story gives us an opportunity to see the coroners as human beings.  Far too often studies focus on the corruption of medieval law enforcement: coroners who refused to hold inquests unless paid to do so, who misappropriated funds, or who failed to investigate a sudden death because the weather was too cold and unpleasant for traveling.  This story, however, shows us coroners who were delighted to find that their trip had been unnecessary after all, who shared in a community’s joy that one of their own had risen.

Q. As a novelist writing about crime in medieval England I appreciate your explanations of the differences between how we view crime and punishment, but also in what is expected of the various professions/officials involved. For instance, you mention that coroners’ juries were better served by barbers and surgeons than by physicians because the latter were trained to be theorists rather than hands-on practitioners. They hired surgeons or barbers for hands-on medical care. In your other research projects have you come across other examples of occupational tags that no longer mean what they did in the past?

A. I’m delighted that you appreciate that aspect! One of my reviewers wanted all of that cut, but I stubbornly refused.  That viewpoint was essential to my motivation for writing the book. I also felt that it was useful tool to make sense of what we were reading in the medieval record.

In terms of occupations: Before doing the research for this book, I never understood King Edward III’s 1363/64 pronouncement of one craft per person (37 Edw. III, c. 6). Why would the king feel it necessary to limit men to only one trade?  As I tried to figure out how to classify who might belong to the pool of medieval medical practitioners, I realized just why Edward III made this declaration. Occupational diversity was the norm in late medieval England. Hardly anyone worked in just one profession. A chandler needed wax to make candles: but wax could also be used for other purposes, such as shaping pills and making ointments. Why not expand also into the apothecary profession? Similarly, overlap existed between surgeons and metalworkers:  a surgeon needed iron-tools for his work, and metalworker produced those tools. Why not have one man employed in both trades? Because of this it was not all that easy to pigeonhole men and women from the era. To the king, this was frustrating because he saw the guilds as a useful way to control the population and he wanted everyone to fit neatly into a category. To me this is really exciting because it suggests much more ambition, creativity, and flexibility than we often imagine of medieval men and women.

Q. In writing about medieval England for a popular audience I am keenly aware of the trap set by a common language—I do glossaries for my readers, but quite often my editors urge me to avoid the words that might confuse them. Most hilariously, an editor asked me why there were bars at all the gates of York—took me a day to realize that she thought Monk Bar was a tavern. But I have gone down a rabbit hole in doing research when I didn’t realize I was chasing the wrong term. Has this ever tripped you up? How do you flag these items in your own research?

A. Language is a serious problem for me. I write about legal history; however, I am determined to write for a wider audience than the few legal historians that I see regularly at the Conference for British Legal History. However, when I try to write in a more accessible manner by sidestepping the legal jargon, reviewers of my work in the field of legal history seem to think I’m avoiding it because I don’t know it. I have been told by the editors of legal history journals that I write social history, not legal history, while the editors of social history journals have insisted quite the opposite. Sigh. In this book, I have tried my best to include all the legal jargon, but to explain it to my audience in the hopes that this might be a useful handbook of sorts for tackling other works of medieval legal history. The legal record is too useful to social historians to be ignored, but it is a shame that so much of the legal history out there sounds as if it was written by a lawyer.

My students play a key role for me in determining which terms need to be explained so that I avoid your Monk Bar experience!  Students have told me that they thought “gaol” was a high class prison (why else would it be spelled so oddly?); that an “eyre” (itinerant court) was a lovely, lilting tune; that justices of the peace were only interested in marrying people; and that a villein (an unfree tenant) was in fact always the bad guy.

Q. Often when I’m writing one book I find something that I tuck away for another book. Did writing Forensic Medicine lead to a future project for you?

A. It led me to two new projects.

One: I’m working on an article about juries of matrons, the women who were called in to perform a physical examination of convicted felons who claimed to be pregnant, and another one on pleas of the belly. Medieval courts did not execute pregnant mothers: they waited until after the birth of the child before they executed its mother.  I’m interested in knowing more about the matrons: who were they? How did they qualify as matrons, that is, were they mothers, or medical practitioners? How did they decide whether a woman had in fact conceived?  I’m also interested in pregnant felons and their treatment in prison. Did they actually give birth in prisons, and what happened to the babies? How long after the birth were they executed?

Two: I’m working on a new book project on peine forte et dure.  When a defendant refused to plead to a felony indictment, the English courts were left in a quandary. In the English system, defendants had to consent to be tried: consent came in the form of a plea. If the defendant refused to plead, what is better known as “standing mute,” then he could not be tried. Accordingly, the king’s justices sent him back to prison to be coerced into pleading. He was subjected to peine forte et dure: strong and hard punishment, essentially pressing with weights and a starvation diet, until he agreed to undergo jury trial. By the early modern period, this had come to be death sentence, and is probably best known to a non-legal historian audience by the deaths of Saint Margaret of Clitherow (a recusant during Queen Elizabeth’s reign), or Giles Corey (during the Salem Witch trials). During my research I came across a number of deaths from peine forte et dure and it made me question why anyone would choose to undergo the peine. I also wondered why the English employed the peine: the English were always proud of the fact that they did not employ judicial torture. Yet, peine forte et dure sounds an awful lot like it. My book is going to look at how the practice evolved, and how the peine fit in with the ideology behind justice in the medieval English context.