Tracing the Tudors - Jenny Barden Talks at the RNA Conference

Apologies to Jenny for the slightly blurry photograph, caused by my over excitement at seeing a real pistol! I was lucky enough to hear Jenny Barden talk about how she researched her new Tudor novel, Mistress of the Sea at the Romantic Novelists Association Conference in Penrith.Jenny's book features Sir Francis Drake, and she told us how his illustrious career actually began with a disaster at San Juan de Ulua, and that he spent years seeking revenge, "Vengeance is always a good theme," she said.

In tracing the real events surrounding the sinking of the English flagship at San Juan de Ulua

she showed us how she traced the story from modern historians colourful accounts, back to the almost contemporary reports, and from there even further back to the original source. Often the amount of material can be overwhelming for a novelist embarking on this sort of research, but as Jenny said, "Fear not and relax. The only things that matter are the primary sources." She then explained that the original account from the ship had been burnt in a later fire and that the account had been reconstructed from the fragments. This was demonstrated by slides on the screen.

Original sources can disagree about events, depending on which side they are on, but Jenny said she enjoys building a story around the parts where sources disagree. 

Visits to real places are a large part of Jenny's research, such as to tall-ships to see how cramped the spaces are on board ship, and a trip to the islands where Drake sailed. In Mistress of the Sea the character of Drake is drawn by the opinions of those around him, and Jenny told us that the evidence showed he could be both compassionate and ruthless - for example he was outraged at the mortal wounding of a black messenger following his attack on Santo Domingo and had two friars hanged in retaliation.

Jenny treated us to slides from her research visits, showing us the mule tracks and mangrove swamps where Drake would have walked.  Her talk included showing us the  pistol (see the picture) along with a ruff and a boned bodice of the time, which Henri Gyland dutifully put on - sorry,  I forgot to take a picture. We were also treated to the waft of rosemary, the sound of Thomas Tallis's music, and were allowed to handle a 16th century key - all to give us a flavour of the past. These little touches - to feel, smell, hear the past, brought the period more vividly to life.  Jenny has a reconstruction of an Elizabethan musket on order, and she tells me she's looking forward to being able to show a proper 'caliver' in future talks.

Questions from the floor enabled Jenny to talk more about her cross-dressing heroine, Ellyn, who stows away on Drake's ship the Swan. For those interested in more nautical tales of cross-dressing heroines you might like to check out Linda Collison's blog.

For an hour's  talk Jenny managed to cram an awful lot in, and I thoroughly enjoyed it. I've always been a sucker for the romance of the sea, so I'm really looking forward to the book, which will be published by Ebury Press 30th August 2012. More about Jenny Barden and her research process can be found here

More about the Romantic Novelist's Association here

Jenny is organising the Historical Novel Society Conference in London in September, more about that here.

Mistress of the Sea

Plymouth 1570; Ellyn Cooksley fears for her elderly father's health when he declares his intention to sail with Drake on an expedition he has been backing. Already yearning for escape from the loveless marriage planned for her, Ellyn boards the expedition ship as a stowaway. 

Also aboard the Swan is Will Doonan, Ellyn's charming but socially inferior neighbour. Will has courted Ellyn playfully without any real hope of winning her, but when she is discovered aboard ship, dressed in the garb of a cabin boy, he is furious. 

To Will's mind, Drake's secret plot to attack the Spanish bullion supply in the New World is a means to the kind of wealth with which he might win a girl like Ellyn, but first and foremost it is an opportunity to avenge his brother Kit, taken hostage and likely tortured to death by the Spanish. For the sake of the mission he supports Drake's plan to abandon Ellyn and her father on an island in the Caribbean until their mission is completed. But will love prove more important than revenge or gold?
Pre-order the book

"His Last Duchess" by Gabrielle Kimm - Review

This is the sort of book to take away with you on a wet weekend as it immediately conjures a sense of the hot sun of Renaissance Italy.

One of Gabrielle Kimm's strengths is that she is able to convey that heat and light to someone like me, sitting in Cumbria with the grey rain sheeting down outside. Her other strength is in describing the minutiae of life in a Tuscan estate, including a wonderful description of the kitchens, the intricacies of falconry, the manufacture of lime, and most of all the lost art of fresco painting.

'Flight of Aeneas from Troy', fresco painting by Girolamo Genga, 1507-1510, Pinacoteca Nazionale, Siena.

Impeccably researched, the history is woven fluidly into the plot so that you never feel as if it is slowing the story.

The plot is fast-moving and unfolds from the poem with inevitability, but there is a twist in the tale which is very satisfying to the reader - I shan't spoil it for you though.

Lucrezia comes across as a sweet-natured heroine, out of her depth in a marriage to the sinister and controlling Alfonso, the Duke of Ferrara. In many ways his conflicted character drives the book, and the reader is both fascinated and repulsed by his developing psychology.

In terms of the poem, Gabrielle Kimm has managed to make sense of the hidden story behind the monologue, and I doubt if I will ever be able to read the poem again without remembering this book.

One word of warning though for parents and teachers who might buy this book for a child who is studying the poem -

best read it yourself before giving it to younger readers - not just because it is an excellent book, but because you might want to check out the adult nature of the themes before passing it on.

I thoroughly enjoyed this book and the character of Francesca, Alfonso's whore, is one I look forward to meeting in Gabrielle's next book, The Courtesan's Choice.

My Last Duchess

That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
"Over my lady's wrist too much," or "Paint
"Must never hope to reproduce the faint
"Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart how shall I say? too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men good! but thanked
Somehow I know not how as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech which I have not to make your will
Quite clear to such an one, and say, "Just this
"Or that in you disgusts me; here you miss,
"Or there exceed the mark" and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and make excuse,
E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!