I very rarely give a book five stars; Godric deserves it. This short book contains some of the most intensely poetic language I’ve ever read in a novel, but it’s poetry used in service of the story, never in the flashy, look-at-me manner that disfigures self-consciously clever novels. Buechner evokes, mimics and recreates the language and rhythms of the medieval period without ever sacrificing readibility. The protatgonist, St Godric, tells his story from beginning to end, and end to beginning, each telling coming to a natural, beautifully wrought conclusion at the climax of the book. Godric is a saint, but no plaster statue; rather, he is a cantankerous, decrepit old man, alive with fire.
The novel succeeds in bringing to life a man and a spirituality that is almost completely out of step with modern sensibilities: Godric is intensely ascetic, practises mortifications of the flesh including walking barefoot for half a century, immersion in bone-cold water, physical chastisement – all the things we find most incomprehensible nowadays – and yet Buechner makes it all completely natural and matter of fact. Of course Godric would do this. He almost makes me want to do it too, to waken the tepid embers of my own faith. After all, his privations are such small things in comparison to what he sees. This is a world of miracles, but the miraculous is everyday and thus as precious and simple as a new-born’s cry or the first spring flush. In some ways it is impossible to enter into another era, but with Godric, Frederick Buechner has come as close as anyone I’ve read.
Since I’m writing about two earlier, more martial Anglo-Saxon saints, St Edwin (Edwin: High King of Britain is just out from Lion Hudson) and St Oswald (Oswald: Return of the King will be published next Easter), I’ve found Buechner’s approach particularly fascinating. Edwin and Oswald were warriors rather than monks, but the ascetic, miraculous, natural brand of Godric’s Christianity is much like their own.
There are quite a few books on Alfred the Great around, and I’ve read most of them, so it’s unusual to find one that adds anything new – David Sturdy’s does. He does so by, first, providing a fresh translation of the Anglo-Saxon Chronicle, around which he weaves the story of Alfred and Wessex, and then through a forensic examination and interrogation of the charters that survive from the 9th century. This proves particularly fruitful, as the gradual movement of magnates and priests up the rigid hierarchy of signatories tells the reader much of the political and social system of the time. It also allows Sturdy to reconstruct, in more detail that one would expect, the lives of some of these individuals, presenting Bishop Werferth, for instance, as tutor to the young Alfred. The emphasis on the charters also provides a greater understanding of the actual workings of Alfred’s Wessex than other books I have read; the imagination is fired by the image of the magnates of the land lining up to place their hands, as witnesses, upon the charter document lying upon the altar, whether of a great church or a hastily erected field chapel set up on campaign. The book is further enlivened by Sturdy’s waspish comments on the judgements of other historians. All in all, while I wouldn’t recommend this as the first, or even the second, book to read on Alfred, it is excellent for shedding new light on the subject for a reader who already knows a good deal about the king.
Quite a lot! First, and I’m about half way through this and typing frantically with one eye on the approaching 16 May deadline, is a biography of Alfred the Great with Dr Katie Tucker, the osteoarchaeologist (she works with bones) who is leading the search for the mortal, but lost, remains of the king. There was a recent BBC 2 TV programme, The Search For Alfred The Great, hosted by the lustrous Neil Oliver, on the efforts to find King Alfred’s body, which can be seen in part here. This biography tells his life, and extraordinary achievements, and Dr Tucker will be writing about her search for his lost remains. The book is called In Search of Alfred the Great: The King, The Grave, The Legend and will be published by Amberley Publishing.
Then there’s volume two of The Northumbrian Thrones, Oswald: Return of the King.
Oswald: Return of the KIng
The sequel to Edwin: High King of Britain tells the story of Edwin’s nephew, Oswald, who with his family fled to the sea-spanning kingdom of Dal Riada when Edwin defeated and killed his father in battle when he was a child – in the Dark Ages, the personal really was political! JRR Tolkien, the Rawlinson and Bosworth Professor of Anglo-Saxon at Oxford University, took his inspiration for Aragorn, the dispossessed king who returns to claim his kingdom, from Oswald, and his story is crucial in the history of England. It was a time of great danger – no king of Northumbria before Oswald had managed to die a natural death – but also the sudden birth of great beauty, as if the precariousness of life made the preciousness of things made with consuming skill all the greater.
I’m aiming to have written Oswald: Return of the King by the end of October for publication next Easter. After that, I’ll be working on the final volume of The Northumbrian Thrones, Oswy: King of Kings, which is about Oswald’s half brother and successor as king of Northumbria (in a time before surnames, parents gave their children names with the same prefix to indicate they were siblings; thus Alfred the Great’s five elder brothers and his sister all had names beginning with Æthel. Presumably even his mum and dad were getting confused when they came to number seven and called him Ælfred instead). Volumes two and three of The Northumbrian Thrones will be published by Lion Fiction.
And to round things out, there’s The Light That Drowns The Stars: A Spiritual History of London. Now, I’m an unusual creature: someone living in London who was actually born here, and lived all my life in the city – to be precise, up and down a six-mile section of the Piccadilly Line. This is an exciting, making it up as I go along sort of book, where I’m writing a spiritual history of the town that is both the Great Wen, a pustule on the bottom of the country, and the inspiration of religious and spiritual movements ranging from Methodism to the Alpha Course. Also, London formed me, for ill and good, and that story, I realised, forms how I write its history and thus is part of its history too. It’s a thrilling, though, nerve wracking, book to write. It should be out later next year from Lion Hudson.
2) How does your work differ from others of its genre?
A lot of Early Medieval historical fiction concentrates on the heroic aspects of the Heroic Age: shieldwalls and battles, with a side order of wenching and pillaging – sort of Rambo in the sixth century. I wanted to take this and build a bigger picture: the obscurity of the Dark Ages hides the birth of England, Scotland and Wales, the foundations and many of the lift shafts of everything that came afterwards. And, what is more, it was the battles that often settled the questions: would England expand and dominate the whole country? Answered, emphatically in the negative, in the Battle of Nechtansmere in 685. Would the Romano-Britons be able to drive the Anglo-Saxons from their land? Again, a question answered in blood at Mount Badon and Catterick and elsewhere, and the reason I am writing today in English, not Welsh.
So, with The Northumbrian Thrones, I wanted to widen the focus and look at the interplay of nation building and identity, and how they worked out in the crucial period when the pagan kings of the Anglo-Saxons decided where their religious, and cultural, future lay. The personal choices made by a few men and women then determined our national trajectory up until today.
This was all made considerably easier because I had already written a non-fiction book on the history and archaeology of Northumbria, with archaeologist and director of the Bamburgh Research Project, Paul Gething. Northumbria: the Lost Kingdom, and the many conversations I had with Paul, gave me almost everything I needed in terms of historical research and, in Paul, I had access to one of the finest, most incisive analysts of the Early Medieval period there is. We spent many hours discussing the finer points of shieldwall battle tactics and the etiquette of duelling, with Paul always able to bring to bear some archaeological nugget or fascinating ethnographic parallel.
Another difference is that I don’t simply write historical fiction. Edwin: High King of Britain is my first novel, but I’ve had five books published before it, four on history and one children’s book (the details are all on my books page). I’ve also had over thirty short stories published in various magazines, in genres ranging from science fiction and fantasy, through literary fiction to a stab at romance! There’s a page linking to my stories here.
3. Why do you write what you do?
Because someone paid me! First off, writing is a job. The strange thing is, for all the years I looked on writing as an art and vocation and all that sort of stuff, I got virtually nowhere, wrote very little, and had almost nothing published. Since I’ve switched to looking at it as a job, and started – against all my instincts – to push myself forward and market myself in all sorts of hideous ways, I’ve not had time to stop.
But it’s also fair to say I get very grumpy if I don’t write – my sons found the perfect image of what I’m like if I don’t write regularly: it’s not a pretty sight, is it.
Shoebill (Balaeniceps rex)
4. How does your writing process work?
I get up at 5am, make a cup of tea, say my prayers, and start writing. Getting up at that time means I get two hours before the rest of the family are up, or at least 45 minutes if I have to leave to do some freelance editing at Time Out or Bella or one of the other places I do shifts at. I know many writers find reading about the actual writing process fascinating, but I avoid reading it and I’m not much cop at writing it. In the end, it comes down to putting one word after another. The main, perhaps only, thing I’ve learned is: trust the words. They’re tough little blighters, and will do all the heavy lifting for you, if you give them the chance.
Thank you to Justin Hill (author of Shieldwall and a very fine writer) for asking me to continue the tour. Read his answers here.
The blog tour has stopped recently at Matthew Harffy’s blog (author of the Bernicia Chronicles, which are also set in seventh-century Northumbria); AH Gray who, although condemned to the sunshine of Perth, Western Australia, finds her true home also by the cold grey waters of the North Sea – she is the author of the Northumbrian Saga.
The tour continues…
Christi Daugherty takes cool and brands it in her own inimitable style. The author of the best-selling Night School series of YA novels, she combines writing about the sort of teenagers I wish I’d been with an unerring nose for a good cup of coffee.
CJ Daugherty
A former crime reporter, political writer and investigative journalist, CJ Daugherty wrote for several American newspapers and for Reuters before becoming a full-time novelist. Her young adult series, Night School, set in a boarding school for the children of the political elite, has been translated into 21 languages.
Julian Bell will warm the heart of English teachers throughout the world – after years teaching the subject all over the world, he is about to step into the page with his first novel, Whatever You Say, Say Nothing.
Julian Bell
Julian Bell has worked as a teacher for twenty-seven years in London, Hong Kong, Spain, Kent and Hertfordshire. He is currently Head of English at the Godolphin and Latymer School in West London. He has written comedy scripts for BBC Radio 4 and a variety of stand-up comedians, and his poetry has been published in a number of magazines and has won several prizes. He has also been a restaurant and book reviewer, and has been commissioned by the Royal School of Church Music to write the lyrics of a Christmas carol. He writes a weekly column on London at www.lifelonglondoner.blogspot.com.
Whatever You Say, Say Nothing, his novel set in Dublin in 1920 at the height of the Anglo-Irish war, is the first volume of a planned trilogy: the second volume, My Enemy’s Enemy, will be set in London in 1940 – 41 during the Blitz, and the third, Ourselves Alone, in Belfast, London and the Lake District in 1975. He lives in London with his wife and daughter.
First off, and this is for your ears rather than your eyes, there’s a podcast of my story, From Here To The Northern Line, available to listen or download from Third Flatiron Publishing. It’s read by the brilliant and talented Harriet Whitbread, who has made me see the story in a whole new light by the life she brings to the characters. It’s available here.
If you’d like to read the story as well as listen to it, From Here To The Northern Line is in the Astronomical Odds anthology form Third Flatiron.
Then, in the Trust & Treachery anthology which features writers as well known as Beth Cato and James Daniel Ross, nestled in among the big names is Neighbour From Hell, a short story about a neighbour who is unusual in other ways apart from always wearing slippers.
Trust & Treachery
These are both speculative fiction stories, but I sometimes strike out into literary fiction too, and the discerning Nancy Wagner at Page & Spine magazine has taken two of my stories for her showcase there: Disconnecting and Brothers.
Disconnecting
So, it’s been a busy few weeks, and there should be a couple more short stories coming soon. Watch this space!
We would like to publish your story, “Ghosts of Mars”, in Daily Science Fiction. We’ll email a contract to you shortly for your approval. A sample email, including any edits to your story that may be necessary, will come later. The edits will be sent with enough time for your feedback, so we may resolve any issues and present the best possible story to our audience.
– Jonathan & Michele, Daily Science Fiction
PS If for any reason, you no longer wish to publish this story with us (e.g, forgotten prior publication, actually authored by a Unicorn, etc.), now would be a very good time to let us know!
I am naturally inclined to dismiss any book written by a TV presenter, particularly one with locks as lustrous and flowing as Oliver’s, so it pains me to admit: this is really good. Oliver – and I think it is him, not his editor – writes with a sureness of touch and an ability to find the telling detail that brings his subject as close to life as is possible for a people that raged against the dying of the historical light a thousand years ago. His description of the taste, smell and texture of eating preserved basking shark – like ‘a French kiss with the living dead’ – is a classic, and he makes good use of the opportunities offered a TV presenter to bring us closer to Viking life: meeting, at sea, a replica long ship sailing from Norway to Dublin and finding the crew soaked, exhausted, cold and morose, and all too willing to deal out some violence to interlopers, provides a better understanding of life on a drakkan than most academic texts.
There I was at the London Book Fair on Tuesday, wandering along, taking in the bustle and the deal making, enjoying the atmosphere and slowly heading over towards the Lion Hudson stand, where I had a 10.30 meeting with my publisher, when I stopped (creating something a people jam behind me). There, ahead of me, were the swirling lines of an Anglo-Saxon design, and ‘Edwin: High King of Britain’ in letters considerably bigger than my head, and ‘Edoardo Albert’ (about the size of my head), on a series of display boards. Unknown to me, Lion Hudson was featuring Edwin as one of its major new titles for the year. So, here’s a picture of me standing in front of the display.
At the London Book Fair 2014
And here are a couple more photos, with Tony Collins, publisher of Lion Fiction, and Jessica Tinker, my editor at Lion.
With Tony Collins at London Book Fair 2014With Jessica Tinker at London Book Fair 2014
All right, he’s not strictly speaking a saint, only a blessed, but Ramon Lull (1232-1316) deserves a place in any list of Catalan holy men. However, the Fool of Love was for the first 30 years of his life fool to an altogether more earthly sort of love. Lull was attached to the household of the future James II of Majorca and he eventually became its seneschal. Marriage and two children did nothing to cool his ardent pursuit of the court’s women, to whom he composed many songs in the romantic troubadour style of the period.
‘The more apt I found myself to sin the more I allowed my nature to obey the dictates of my body,’ he wrote later. Not even the shock of one of his amours yielding to his advances, only to reveal breasts ravaged by cancer, could stop his philandering. But then, in the summer of 1263, while Ramon was busy writing another song in honour of a new love, he looked up from his work to see ‘our Lord Jesus Christ hanging upon the Cross’. Lull, his poetic flow seriously interrupted, escaped to his bed, no doubt assuming that a good night’s sleep would clear his mind of such troublesome visions. But when he next returned to songwriting, the figure returned and a terrified Lull again retired to bed. However, Ramon was no dilettante libertine and three times more he returned to his love song, only to be faced with the same figure. Lull decided that these must be authentic visions rather than mental phantoms and he set himself to working out what they meant. In the end he decided that ‘our Lord God Jesus Christ desired none other thing than that he should wholly abandon the world and devote himself to His service’. This he decided to do by trying to convert the unbelievers (in Ramon’s world, this meant chiefly Muslims), by writing a book, ‘the best in the world, against the errors of unbelievers’, and setting up colleges to teach Arabic to missionaries.
Ramon then sold his possessions, though keeping some back to support his wife and children, distributed the proceeds to the poor and spent the next nine years in study. It was only then, approaching his 40th year, that Lull began the literary and missionary work for which he would become famous, known in later centuries as the Doctor Illuminatus, the Illuminated Doctor, from the series of mystical visions he had on Mount Randa in Majorca. The sheer scale of his labours almost defy belief. Lull was the author of 265 works in Catalan, Arabic and Latin; the writer of the seminal Catalan novel, Blanquerna; a missionary in almost constant travel between Europe and north Africa; a teacher at the University of Paris when it was the foremost institution of learning in Christendom; a suitor at papal and imperial courts; and the originator of the Art, a systematisation of, well, everything with respect to God’s attributes. This was the book, ‘the best in the world’, that Lull believed showed the truth and which he illustrated through diagrams, tables and, literally, millions of words.
This indefatigable man continued working throughout his long life. At 75 we find him, on a mission to north Africa, ‘beaten with sticks and with fists, and forcibly dragged along by his beard, which was very long, until he was locked in the latrine of the thieves’ jail’. Ramon continued in this vein until the end and whether his death occurred in Tunis, or on a ship sailing back, we can say that few men have ever packed so much life and adventure into the second half of a life.
That’s right you can get a copy of Edwin: High King of Britain for nothing, zippo, nada, absolutely and completely free. If you’re already on Goodreads, all you have to do is register here and if you’re pulled out of the electronic sorting hat, then a copy will be winging its way to you, courtesy of the lovely people at Kregel Publications. If you’re not on Goodreads, the booksharing site for bibliophiles, I’m inclined to say, ‘Why not?’ but instead will merely remark that you’d simply have to register to have the chance of winning a copy of Edwin. The competition closes on 30 April so there’s plenty of time. Good luck to you all!
The discovery of the deep past in the Victorian era by geologists such James Hutton and Charles Lyell carried with it an equally deep commitment to the principle of uniformitarianism: that the Earth of the past operated in the same way as the Earth does today and, as a corolllary, that the planet was formed and is formed by gradual processes; an immortal sparrow, wiping its beak every day upon a mountain will grind even Everest down to dust, given enough time. In part this commitment was born from revulsion against Biblical catastrophism and the explanation of everything by reference to events like the Flood.
Only, it turns out, the Earth’s history is full of catastrophic events that wiped lands from the face of the planet and brought peoples to extinction. Here’s just a couple that occurred over the last few thousand years, a heartbeat in geological time.
The Storegga Slide happened 8,000 years ago, when a huge area of coastal shelf off Norway slipped into the Atlantic abyss, triggering a huge tsunami that inundated the eastern side of Britain and drowned Doggerland, the low-lying land mass that stretched into the North Sea and physically linked Britain to the continent.
Here’s a short video about the Storegga Slide.
The Earth had suffered through the long cold of the last Ice Age and, at last, the glaciers were retreating and people started moving north again. The warming seems to have been extraordinarily fast, and the glaciers melted quickly. Unfortunately, melting glaciers produce water, lots of cold water, and that has to go somewhere. Most drained into the oceans, but the geography of North America was such that an immense lake formed roughly where Lake Winnipeg lies today – only it covered a vastly greater area. Lake Agassiz contained more fresh water than all the lakes and rivers in the world today, and a chain of still unbroken glaciers held it in place, stopping the water draining into the ocean. But then, the dam broke.
Lake Agassiz
Vast amounts of cold fresh water drained into the North Atlantic Ocean, reducing its salinity and stopping the Gulf Stream dead in its tracks. The Ice Age went into reverse, the glaciers started grinding south again, and the cold returned, just as quickly as it had left.
