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Friday, May 12, 2017 - 11:47

Session 233: Dress and Textiles II: Real and Unreal

  • Sponsor: DISTAFF (Discussion, Interpretation, and Study of Textile Arts, Fabrics, and Fashion)
  • Organizer: Robin Netherton, DISTAFF
  • Presider: Gale R. Owen-Crocker, Univ. of Manchester

A Change of Face, or, A Man in an Otter Suit

M. A. Nordtorp-Madson, Univ. of St. Thomas, Minnesota

[Speaker was unfortunately not able to attend.]

The Real Unreal: Chrétien de Troyes’s Fashioning of Erec and Enide

Monica L. Wright, Univ. of Louisiana–Lafayette

Chrétien de Troyes shows his familiarity with contemporary fashion in the extensive and detailed descriptions of clothing in his romances. But not all clothing in the stories is meant to be realistic. In some cases the specifics are symbolic and “unreal”.

Structurally, there are two sequences, beginning and ending with a gift of clothing that is described in detail.  The first begins with a gift of armor from Enide’s father to Erec. Erec’s clothing is rich and describes actual garments, though he does not wear armor, which lack is symbolically important. Enide, in contrast, has beome impoverished, which is refelcted in the simplicity of her initial garments: a linen mantle over a threadbare linen chemise, but lacking the expected bliaut which would be an expected part of court wear. The sequence ends with a gift of clothing from the queen to Enide, who previously has remained in her poor clothing. The description of Enide’s clothing gift is long and detailed, again reflecting actual contemporary fashions.

The second sequence is when the two venture out on adventures in the midst of conflict between them. Enide is instructed to wear her finest clothes--those the queen gave her--which will attract the attention of Erec’s adversaries in this section.. The central part of this sequence includes a number of gifts of clothing that Erec hands out to resolve problems along the way. This sequence concludes with the couple reunited and invested to rule the realm of Enide’s late father. There is a long description of Erec’s coronation mantle with its elaborate embroidered decorations. Although these might seem improbable in theme, they are similar in detail and them in existing royal mantles from the general era.

Some details of the mantle, however, are deliberately fantastic, such as the work being attributed to fairies, and the description of the strange and colorful legendary beasts that provided the fur lining. Or are they so strange? In other manuscripts, some furs are described as coming from the orient, and Write notes some furred creatures native to Asia such as the Giant Malabar Squirrel and a type of monkey whose multi-colored fur is consistent with the description in Erec.

(Summary tying the clothing descriptions and dynamics in with the contemporary social and political landscape.)

 “Monstrous Men of Fashion”: Striped Costume in a Danish Church Wall Painting

John Block Friedman, Center for Medieval and Renaissance Studies, The Ohio State Univ.

During 15th c “ungodly creatures” began to be depicted in Dnaish church paintings. This paper concerns such depictions of “monsters” derived from Pliney’s writings, but shown wearing fashionable “Landsknechte” style clothing in the early 16th century in a church at Raaby. There is an anecdotal story of how such works might have been commissioned. Figures at Raaby include:

  • dog-headed man
  • one-eyed man with long ears
  • sciopode (with umbrella-like foot over his head) & prominent erection
  • horned man with long nose

Possiby connected with these are similar figures in churches near Aarhus, wearing similarly fashionable clothing of other styles.

Whey are the monsters clothed at all? And in familiar garments?  The contrast between humans and monsters suggests that monsters should be depicted naked or in the styles of foreign lands.

Two features make the Raaby onsters unusual. The carefully depicted garments are a turning point in the depiction of monsters. But they also reflect an antagonistic reaction to the landsknechte mercenaries via a hostile association of them with monsters. The mercenaries were specifically exempted from sumtuary laws and encourated to use clothing display as a cohesive strategy. And their low pay encouraged rapacious behavior in the wake of battles, hence their bad reputation.

The visual significance of the Landsknechte clothing style resulted in plentiful visual documentation, but early depictions are often hostile.

[There is a general discussion of fashionable changes in the doublet in the 14-16th century, especially with regard to social critique of them.]

The Raaby sciopode is not wearing landsknechte styles but rather a more academic robe. Thus contrasting the intellectual and bestial qualities.

Vivid striping on the figures’ hose and codpieces draws attention to a novel aspect of the style, where the lower limbs are increasingly displayed. By the early 16th century, German art often associated striped clothing with outrageous figures and tormenters, as in crucifixion, flagellation, and St. Sebastian scenes. We’re now looking at alterpieces and other paintings from Germany and Austria.

Thus the dressing of the Danish monsters creates an association between unhuman monsters and the violent and rapacious behavior associated with landsknechtes, as well as with violent sexuality.

Tall Hats, Scrolling Brims, and the Byzantine Scholar in Late Medieval European Painting

Joyce Kubiski, Western Michigan Univ.

In the 15th century a particular hat style begins appearing in European art from the east moving to the west. It seems to be a fantastical item used to reprsent Jews and other foreigners. But garments of this sort were not entirely inventions, but relied in origin on an actual association with a foreign garment, though often fantastically elaborated later.

This “hat with a scrolling brim” has a round crown with a knob on top, and a bifurcated upturned brim.

It may date to contacts with Byzantine diplomats traveling to western European capitals looking for assistance. Western representations of Byzantine dress are more common than Byzantine ones due to later destruction of art during political and religious upheavals. Everyday dress is particularly difficult to research for this reason.

Although this hat style had clear symbolic meaning in western art, it isn’t clear what it may have symbolized in its original cultures of origin. It was used to symbolize a “benign” foreigner, or ancient Greek philosophers and the like. Later it morphed into a more general sign of “otherness”, not necessarily benign, and might be applied to foreigners from other places than the east.

Italian artist Pisanello (early 15th c) created portraits of the Byzantine emperor John VIII Palaeologus, and this is the earliest appearance in western art of the hat with the scrolling brim (HwtSB). This item has a tall rounded crown with a knob and a brim in two parts, the front one elongaged and pointed, turned up, though not rolled as the later depictions show. Pisanello’s portrait was designated the only  “official” image of the emperor and thus became strongly associated as an icon. Possibly for this reason, although the emperor clearly had other garments and caps, descriptions of him usually include this hat.

Official depictions of the emperor in Byzantine art never show him in this hat style, though textual descriptions indicate less formal everyday wear than the official Byzantine portrait styles.

Other sketches by Pisanello of the emperor show a number of other hat styles and clothing. Five different hat designs are show, not including the iconic style eveually used for the official portrait. Some of these other hats show up in images of the Byzantine court included on a set of bronze doors commissioned for Saint Peter’s at the same time. This is a design much closer to the iconic HwtSB, with a high rounded crown, with a tall brim turned up and split at the sides, with the edges scrolled in various directions.

Possible Byzantine visual evidence includes a 14th c image of a saint wearing a stiff tall hat with a split brim, and a Serbian version of the Alexander romance where Alexander and his court wear a tall-crowned, tall-brimmed hat, split at the sides and scrolling.

 

The later medieval European depictions are modified significantly from these early images but have a clear structural connection, as well as a strong symbolic association, first with Byzantine and Greek individuals, later with eastern foreigners, and then with foreigners in general. The connection via Pisanello’s art supports a conclusion that this is a real garment with actual Byzantine associations, despite its later abstraction as an artistic signifier.

Major category: 
Conventions
Friday, May 12, 2017 - 08:16

Session 175: Dress and Textiles I: Details from Documents

  • Sponsor: DISTAFF (Discussion, Interpretation, and Study of Textile Arts, Fabrics, and Fashion)
  • Organizer: Robin Netherton, DISTAFF
  • Presider: Gale R. Owen-Crocker, Univ. of Manchester

Saints Subverting Early Medieval Fashion - Sarah-Grace Heller, Ohio State Univ

Hagiography offers a rare glimpse of early medieval everyday life, those skewed by the purpose of the documents. Information on attitudes towards fashion is even harder to find in this ear and actual garments are rare and fragmentary. History of costume surveys therefore give this era skimpy coverage. This paper looks for evidence for anything resembling a “fashion system” in this era, defined by atributes like constant and systematic change, priviledging of the “new”, a focus on consumption and appearance, conspicuous consumption, and criticism of these features.

Hagiography often featured a rejection of luxury and comfort, including luxurious clothing. But sometimes these tropes are subverted. This paper compares a set of saints’ lives with respect to this question.

S. Radegund  (6th c Thuringian princess) had early life disrupted by war and becoming a political captive and pawn. Eventually offered marriage by the king when she would have preferred life as a nun. She subverts the rich treasures of clothing she is offered by wearing a hair shirt under the rich royal robes she wears.

Advice to avoid surplus or luxurious clothing dates back to the gospels. Radegund would regularly divest herself of her rich royal garments while in the middle of public display, leaving them on the altar as an offering.

Description of a multi-layered “foreign” outfit involved: a “’stapio’ [style?], including her chemises, sleeves, caps, fibulas, all ornamented with gold and precious stones.” ... “A new veil of coars linen ornamented with gold and gems in the barbarian fashion.”  Here we have references to novelty and consumption. Radegund is descxribed as rejecting these things when they are praised as attractive. The context makes it clear that these donated items are not her only garments but that she regularly receives new ones.

Sainte Bathilde, similarly, is described as taking off her girdle (belt) and giving it to the hold brothers for alms. Some of Bathilde’s garments that were donated survive and show aspects of luxurious cut, such as extravagantly long sleeves. [Reconstructed examples are brought out and Robin Netherton models them.] Such extravagance suggests aspects of a fashion system.

Comparison of the concepts of “fashion” and “treasure”. The latter is “specially valued wealth...scarce, desirable, and stored...mobile, it can be given and negotiated.” Fashion, in contrast, is not necessarily stored up and accumulated, but it is the turnover and newness that is valued.

Quotation from Jerome about how a girl should interact with clothing: homespun, not imported silk and luxury fabrics, clothing that protects and covers, not that exposes the limbs.

Hemp and Hemp Cloth in the Medieval Rus Lands - Heidi Sherman, Univ. of Wisconsin–Green Bay

[This speaker scratched, alas.]

“Luflych Greuez” and “Wedes Enker-Grene”: Clothing and Its Social Implications in Sir Gawain and the Green Knight - Kara Larson Maloney, Binghamton Univ.

Paper will focus on Gawain because she ran out of time before getting to the Green Knight. 14th c. text in a single manuscript, combining pretty much every trope of medieval romance. There isn’t any specific political critique identifiable, but a general critique of courtly society and chivalry, especially as elevated in romance literature.

Gawain’s quest involves failing almost every test he is set on his quest. But this paper focuses on the passages where he dresses and puts on his armor (all 47 verses of it). The description is detailed and the clothes and armor are rich and overly ornamented.  This is part of a tradition of the public performance of knightly splendor and virtue.

The poem was written during the reign of Richard II who was criticized for foppishness and ineffectualness. This period shows a transition in heraldry between designs simply being adopted and arms being inherited as part of a noble lineage.

When Gawain reaches Hautdesert (a way station on his quest) he is re-clothed. They attendants remove his armor and divest him of his gear, after which he is presented with rich clothing, where he choses embroidered silk lined with fur. He is then wrapped hi in an ermine-lined mantle and say by the fire. This is seen as taking away his volition in dressing himself.

This aspect is continued when Lady Bertilak approaches Gawain in bed, when he is naked, and points out his vulnerability. Gawain asks to be allowed to dress and this is refused. All this emphasizes how the garments of his identity as a knight and a virile man have gradually been taken away from him. The lady presses on him her green girdle, which later is seen as proof of Gawain’s weakness.

Gawain reclaims his status by re-donning his own clothing and armor and does not again remove anything until he faces the Green Knight to receive his blow.

Gawain can be seen as the artificial veneer of performative chivalry, while the Green Knight represents the substance, competent both in court and battle. When the Green Knight originally appeared at Arthur’s court, it was in courtly clothing, not armor. He doesn’t need the artificial signifier of armor to represent his masculinity. When Gawain returns to Arthur’s court wearing the green girdle as a symbol of his failure, the court mistakenly adopts it as a symbol of victory, thus reminding Gawain at every turn of his chivalric weakness. Interestingly, King Arthur’s clothing is not described, despite his importance in the court.

“At Hir Mariage”: Wedding Clothes in Sixteenth-Century England and Scotland - Melanie Schuessler Bond, Eastern Michigan Univ.

Accounts of wedding clothing not only depict the specific styles but give evidence on the social and economic contracts embodied in the marriages. Weddings were a unique opportunity for a family to display and establish status. Although women were often advised to avoid ostentatious dress, sumptuary legislation did not try to limit women’s clothing.

[We get a brief survey of the basics of women’s fashion at this time in England and Scotland.]

In additionu to the wedding clothes, a bride might enter the marriage with a trousseau: a set of new clothing meant to launch her into her new life. We now get some examples of outfits of important women at marriage which I’ll try to keep up with.

Margaret Hamilton (neice to the Regent of Scotland) March 1544

  • gown of Lille worsted wool trimmed with fine tawny velvet
  • kirtle of violent camlet
  • purple velvet sleeves ..
  • (I think there was a hood?)

Elizabeth Hamilton (niece to the Regent of Scotland) March 1548

  • gown of figured red damask with border of velvet
  • kirtle of satin with border of velvet
  • partlet
  • hood

Lady Jean Lyle

  • gown of tawny velvet
  • kirtle of tawny satin
  • partlet
  • hood

Margaret Hamilton’s 2nd marriage April 1552

  • gown of fine tawny velvet with a train
  • kirtle of purple velvet
  • hoods and partlets of fine black velvet lined with black satin garnishing for the hoods
  • other gowns
  • something?

Dorothy Petre (gentry, England Spet 1555)

  • I’m not going to be able to keep up with the typing. Long list of garments with details of the fabric and trimmings. Includes a farthingale which we haven’t seen mentioned in Scotland.

Thomasine Petre (her sister) Feb 1560

  • A similarly long list of garments for the wedding clothes. An extensive list of garments in her trousseau with details of fabric and decoration. Details show her family’s wealth as it is comparable to those of noble families.

Katherine Herries (ward to the Regent of Scotland) Feb 1551

  • Much longer list of garments than those for the Regent’s nieces.

Jane Herries (ditto) April 1552

  • Similarly long list of garments with details of fabric and decoration. Lists of accesories. Mention of gold garnishing for the hood and chains.

Barbara Hamilton (daughte rof the Regent of Scotland) Feb 1549

  • Only recipient of garments of cloth of gold and silver. An item described as a “royal robe.” Richest garments for any woman associated with the Regent.

Mary I (Queen of England) July 1555

  • Lavish ensemble, probably the only woman in this list who chose her own wedding garments.
  • French-style gown of rich brocade, deecorated with pearls and diamonds
  • kirtle of white satin tissue embroidered, with sleeves of tissue
  • partlet to match the gown
  • scarlet stockings
  • black velvet shoes

[We get a slide showing symbolic representations of all these wedding outfits arranged by social status.]

Wedding clothes were an important point of conspicuous display, and wealthy friends and patrons of the family might be tapped to help pay for the outfit. 

Major category: 
Conventions
Friday, May 12, 2017 - 07:00
cover image - Mother of Souls

What: featuring Mother of Souls again? But of course, because it's my birthday. And if you can't jump the queue and take a second turn on your birthday, when can you?

(I had a lovely essay written here and then did one of those accidental "swipe sideways" things on my trackpad that disappeared it. So let's do something different.)

One review noted of Mother of Souls that it's the book where I say, "So, we're all established and comfy, yes? Good, because now I'm going to start breaking things." That's not entirely wrong. The Alpennia series starts off, as yet a different reviewer notes, as "a tropetastic Heyeresque romance" with innocent young love and a fairly simple (hah!) mysterious-parentage and defying-social-expectations plot. Pretty much everything my characters thought they knew about the world in that book will eventually be exploded. And Mother of Souls starts challenging not only the characters, but the reader expectations of what sort of series I'm writing.

For one thing, it isn't a romance--not in the genre sensenot even as marginally as the first two books were. I think that shakes up a number of readers, even more than the amount of non-romantic plot in the previous books did. Not that the characters may not eventually find a lasting love, but life isn't that simple. And sometimes you have lessons to learn along the way first.

Reading Daughter of Mystery, some readers--along with Margerit Sovitre--got the impression that magic in the world of Alpennia was purely a matter of "Christian miracles are real". But Margerit's confidence in her understanding of mystic forces is rapidly being eroded. The world isn't that simple. And what happens to Margerit's faith in God and in the intercession of the saints when she accepts that magic can exist outside of them?

Barbara has built her whole self-image on being supremely competent in her sphere of activity: her skill with a blade, her ability to untangle the social and political currents in Rotenek's ballrooms and council halls, and her ability to direct and protect the lives of those she cares for and watches over for their own benefit and good. Even it, as Jeanne so succinctly puts it, she comes across as a bit of a bully. Just because Barbara thinks she is responsible for someone's life doesn't mean that person accepts her authority, and it's no suprise that Antuniet Chazillen sees no reason why she must answer for her plans to Baroness Saveze. Antuniet, as usual, is tripped up by her single-minded obliviousness. But Barbara is the one who pays the greatest price for her pride and self-confidence. That price will challenge everything she loves and holds dear.

And Serafina--poor Serafina! She's been given so many wonderful things in life: a happy and loving family, an acceptance and delight in her mystic visions, marriage to a scholar who values her abilities...only to have them erode away until all that's left is the need to master her confusing skills and maybe, just maybe, someday find a place where she feels she belongs, the way she did in her childhood home. But what if she will never find those things? What if she needs to look for new goals? Ones she hadn't previously thought to want?

Luzie enjoyed the acclaim of being a prodigy in a musical family in her youth, but she equally delighted in finding happiness as an ordinary middle-class wife and mother settled in Rotenek. And now that widowhood has become a habit, she is glad her musical talents can support her sons in the path her late husband planned for them. But she knows she can do more than compose little exercises and occasional pieces for her students, even if her friend the great composer Fizeir thinks that's what her talents are suited to. Daring to tackle a project as daunting as an opera would have been impossible if not for the encouragement and unexpected collaboration from one of her boarding-house tenants: a foreign thaumaturgy student named Serafina Talarico. Neither of them expect that Luzie's opera will be the key to the greatest magical ritual Alpennia has known for centuries.

Yes, I start breaking things. But not my characters. They will bend; they will rage; they will fight. And--as Jeanne so poetically puts it--they will come through the fire and they will be transformed. The fiercest fires are yet to come.

Mother of Souls is a story of dreams and ambitions, of finding new alliances and risking fatal fractures, of the conflict between personal triumphs and daring everything for a greater good. You should read it. It's a great book.


The Great November Book Release Reboot is a series I'm posting throughout the month of May to shine a light on books that were releasted in November 2016, and which therefore may not have gotten the attention and promtion they deserved due to the US electio results.

Major category: 
Promotion
Thursday, May 11, 2017 - 17:48

All the participants have connections to the University of York. The session is organized to commemorate the 50th anniversary of the program there.

Thursday 7:30: Reflecting on Gender and Medieval Studies

·      Sponsor: Centre for Medieval Studies, Univ. of York

·      Organizer: Craig Taylor, Univ. of York

·      Presider: Craig Taylor

From Women to Men, and Back Again

Katherine J. Lewis, Univ. of Huddersfield

Paper title refers to her field of study which began with women’s history and then moved to concepts of kingship. Legend of St. Katherine contrasting concepts of kingship’s relationship to concepts of masculinity. Is kingship related to power over others, or does self-mastery make one greater? Thus the “frail” woman S. Kathering stands higher than King Maxentius who challenged her. This highlights the performative nature of gender, rather than biological determinism, as women saints, especially, can perform “masculine” virtues and rise above their biological origins.

Katherine’s life was often included in general textual collections, alongside romances, which may reflect its use as an example to women of a desirable but transgressive life.  But what its reception might be by male readers? What appeal would it have to men in modeling the performance of piety? S. Katherine is depicted by Caxton as a model of kingship, her father’s heir and ruling her household as such. This is more a model of masculine rule than a model for a woman’s stewardship over a household. Caxton’s text explicitly offers her as an example to men of such governance.

We get a summary of the contents of a particular manuscript collection that includes a Life of S. Katherine. Including an inserted indenture for one James Fytt, written on a blank page, recording his agreement with the Guild of S. Margaret regarding a bequest. There is a suggestion that he may have commissioned the manuscript. The Life of S. Katherine in this text also includes a detailed description of how she rules her household after her father’s death.

This is an example of an urban household, depicted similarly to that of the man who we presume was the manuscript’s original owner. The characteristics are not simply the sort of extreme piety and asceticim we often see in lives of female saints, but a very practical and worldly concern for the welfare (including spiritual welfare) of those who depended on her. She gives charity, but retains sufficient good to run the house. She does not withdraw, but concerns herself with the behavior of those under her authority. Self-mastery is a significant component of the virtues she represents.

Katherine’s ability to rule is associated with her ability to perform these “masculine” virtues, and in turn she becomes a model of those virtues for men. She is considered not to have “transgressed” her gender but to have “transcended” it. Even so, her biography provides a model to women that such a transcendence is possible and available.

From Romances to Bromances: Studies in Masculinity at York and Beyond

Rachel E. Moss, Corpus Christi College, Univ. of Oxford

Paper is looking at the field of masculinity studies and its future. Begins with the (modern) Brock Turner rape incident to raise the issue of elitism and masculine privilege at prominent universities. This is a reminder that the issues in medieval studies are still active today, and the role of academics of addressing issues of sexism (among other isms) in academia and research.

The problem of “how can we believe a ‘good guy’ might be a rapist” she raises the probability that Geoffrey Chaucer was a rapist, and resistance to that consideration from those who admire his writing.  Moss chose to study masculinity in the middle ages, not to side-step consideration of women, but to focus on it.  The study of patriarchy, not simply as a socio-political system but as an on-going social system, which informs her current study of homosociality. It is a system that, by privileging male-male social relationships, supported and maintained patriarchal systems. One of her topics is the function (and necessity) of rape as a tool of that maintenance.

Homosocial bonds such as those in institutions such as sports clubs and fraternities, as well as close friendships of (straight) men christened “bromances”, are an essential element of rape culture, wherein men invite their male comrades to participate vicariously in their sexual assaults as a bonding function. The male witnesses are more important than the female “conquests”.

What does this have to do with medieval studies? Privileged medieval men participated in a culture where the threat of violence against women was an essential component of their social bonds with each other. For example, Chaucer’s The Reeve’s Tale, in which two clerks punish a greedy miller by a combination of raping his daughter, and tricking the miller’s wife into having sex with one of them by deception. The two clerks treat this as an appropriate social victory against the miller. The story is played for broad comedy, which requires a male gaze to accomplish.

Those some scholars try to find nuance in the story, it is inescapable that the clerks (and Chaucer the author, and the presumed reader) consider it appropriate and natural to punish a man by sexually assaulting “his” women. The clerks overtly consider that it will make a good story to tell later, one must assume to their male peers. This type of storytelling and audience appreciation are a performance primarily intended as in-group bonding. These performances establish the boundaries of appropriate masculine behavior. The fate of the miller’s wife and daughter after the end of the story is considered irrelevant. It isn’t part of the story.

How do we recognize how the reflex to defend this type of historic content as a type of rape culture while still teaching historic content in its own context? Recognize that the canon is not neutral and that the selection of what it taught not only reinforces sexist understandings of history, but also is a “story we tell each other” that reinforces sexism in the academy by promoting this sort of homosocial bonding among academics and thus excluding marginalized participants.

From Romance to Administrative History: New Perspectives on Queenship in Late Medieval England

Lisa Benz, Univ. of York

She will discuss how she came to work on the topic of her thesis on queenship, having begun with an interest in Arthurian romance. What did it mean to be a queen in practice? Textual sources include ceremonies, didactic literature, histories, biographies. Model images of queens in these sources were influential in creating an ideal of queenship.

“Mirrors for princes” and similar texts were prevalent in the 14th century, but few touched on the subject of queenship. A few 15th c. texts address the question, but most do not. Christine de Pizan addresses queenship in her woman-centered texts, but not in her general works.

Vitae and chronicles retrospectively portray queens as paragons of virtue, to set them up as models for behavior. The “spin” put on their lives was more important than the factual details of their lives, and stock tropes might be assigned to them for this purpose.

Queens in romances supply a different model: often the calumniated queen or the guilty queen. Queens may depict sovreignty, but it is typically resolved by her marriage to a man. The calumniated queen (myserious pregnancy) typically shifts to a focus on the adventures of her resulting son, including his redemption of his mother. The guilty queen typically takes a lover and conspires to kill the king, requiring punishment for the resolution.

Chronicles of actual queens often depict the same event in different ways depending on the particular chronicler’s didactic purpose. Hagiographies similarly cannot be consider factual as their religious purpose was more important than their descriptive one. And romances can’t be considered factual at all.

These texts show the competing ideas and expectations, but the actual historic women had more complex lives. In the early 20th century, historians of queenship moved away from the simple biographical narratives and began addressing the evidence of non-narrative sources, such as accounts and administrative records. Economic and structural studies of the queen’s household (especially as it became distinct form the king’s household) provide a less biased look. But there was still a preference for focusing on queens with “good stories” Studies of Iberian queens have been particularly rich in data for looking at these contrasting approaches to the research.

Much summing up that I can’t keep up with. Plus some specific examples of types of evidence from administrative documents.

Major category: 
Conventions
Thursday, May 11, 2017 - 13:32

Session 97: Would You Write More, or What? The Quest to Publish Historically-Based Creative Writing in the Contemporary Literary Marketplace (A Roundtable)

·      Organizer: Curtis VanDonkelaar, Michigan State Univ.

·      Presider: Curtis VanDonkelaar

A roundtable discussion with Grace Tiffany, Western Michigan Univ.; Amanda Sikarskie, Univ. of Michigan–Dearborn; Merrie Haskell, Library, Univ. of Michigan Library; and Edward L. Risden, St. Norbert College.

Genre fiction has embraced historically-based writing for quite some time, but there now seems to be more openness in “literary” venues as well. The Presider (VanDonkelaar) considers this possibly related to pop culture phenomena like Lord of the Rings and Game of Thrones. Introduces the panel:

Grace Tiffany - author of six novels set in the middle ages or English Renaissance Talks about how you integrate your creative work with professional scholarship. Interest grew from reading Renaissance literature (Shakespeare, etc.). Led to interest in creating her own stories. Can explore ideas that arose in the context of scholarship from a different angle. Argues it’s not just pop culture or genre fiction, but people like Hilary Mantel (Wolf Hall).

Amanda Sikarskie - The “odd person out” as an art historian who is now in the middle of writing a novel. [The link is to her non-fiction publications.] Tells a story about the passage in a historic source that inspired her fictionalization of the event concerning a family of silk weavers. She recommends novel writing as a distraction from looming academic deadlines.

Merrie Haskell - Now she claims the “odd person out” title as a non-academic, although she’s working on a degree to become an academic librarian (currently a para-professional). So for her the writing focus drives her other professional interests, rather than the other way around. Many of her books are aimed at the young adult market.

Edward L. Risden, writing fiction as Edward S. Louis - He’s the first presenter who notes negative reactions from his academic colleagues for his fiction writing. This moves into a discussion among the presenters about this point. Tiffany notes that she has consistently written both fiction and academic work at the same time and her institution supports “creative” work as well as research (and she already has tenure).

General discussion about the mechanics of self-publishing, comparing non-fiction and fiction aspects. (This is from Sikarskie who has self-published non-fiction as well as having her research published by others.) Comparison of the economics of publishing for academic presses versus other models.

Question: Do you bring aspects of your fiction writing into your teaching process? Risden: Yes, in terms of process, projects, ideas. Presenting historic material in narrative/experiential format. Tiffany: Yes, especially when interacting with Shakespeare. Have students create their own new interpretations, dialogues, to demonstrate understanding of the characters and material. Having students fill in the “gap” in Beowulf, extrapolating from the existing material creatively.

 

The presider is now repeating the canard that “major publishers” don’t understand the internet and are behind the curve on using new technologies. Tiffany is challenging this, especially the theory that one needs to have separate literary identities for different types of work. Haskell offers the middle ground that pen names are useful for separate branding, and this works for academic/non-academic divides as well. Further discussion of the dynamics and practicalities of pen names. Tiffany notes that her case is peculiar since her fiction is essentially unknown so there isn’t a set of readers moving from that to her academic work and bouncing off.

Sikarskie provides practical and useful information about why self-publishing is not as great an idea for fiction as many people think. She also notes that she was advised to leave her self-published non-fiction work off her academic resume. Conversation moves on to the problem of trying to make a living as an author. [Very little of the specifics of this part of the conversation will be new to any of my usual audience.]

Major category: 
Conventions
Thursday, May 11, 2017 - 11:43
medieval lecture

Yes, it's that time again! I'm blogging the sessions I attend at the annual medieval studies congress at Western Michigan University in Kalamazoo. (There will also be reports on book purchases.)

Session 49: When Medievalists Fictionalize the Middle Ages

  • Organizer: Rebecca Barnhouse, Youngstown State Univ.
  • Presider: Sharan Newman, Independent Scholar

The Mean Streets of Medieval York: The Murder Mystery as Cultural Lens

Candace Robb, Independent Scholar

The pros and cons of writing about a real place and real people, but adding in fictitious events (like murders). Her focus is on the city of York itself (which she fell in love with). Not finding enough fiction set in that place, she decided to remedy it. Some tweaking of specific historic details to get the setting she wanted. The rich cultural context of the 14th century provides a lot of potential for interactions.

The pitfall of fictional invention is that lots of people know details about medieval York and will know when you make something up. The pitfall of using the real characters is they don’t always do what you need them to do.  But conversely, real historic events and relationships sometimes provide a perfect context or inspiration for the genre plot you need.

Another pitfall is the historically accurate repetition of the same personal names over and over and over again. What do you do when there are two very important John Montagues in your historic setting? (Handout is passed out with detailed family tree of both historic and fictional persons in the series.)

What happens when later information turns up a historic mistake in an earlier volume in a series? Do you revise? Do you shrug and move on? Do you ret-con? (Star Trek’s handling of Klingons is offered as an example.) What happens when someone else uses your fictionalizations as a “historic” source for their own fictions?


The Fantasy Space of Medieval History: The Case of Chaucer, Gower, and Bruce Holsinger’s A Burnable Book

Debra E. Best, California State Univ.–Dominguez Hills

What is the perfect mix of history in fiction? When do facts slow down the action? ABB is reviewed as an excellent portrait of medieval England, but how well does it create a fantasy space within that history? And how does this process interact with the story-internal process of the role of fiction in creating historic reality. It is a murder mystery involving a (fictitious) prophetic book, wrapped in an embroidery, combined with the words of a dying woman and several other clues.

The story centers around objects and events that are not merely fictitious with respect to the modern novel, but some turn out to be fictious creations within the context of the story itself.

Holsinger’s background as a historian drove some of his creative process, writing the book’s core prophecy originally in Middle English, based on historic prophetic examplars, and then modernizing it for the text, but similarly his characters turn out to have created the (story-internal fictitious) prophecy by modeling it on earlier (historic) writers. Thus the process of creating a fantasy of the past is echoed both within the story and in the existence of the story.

The author’s background also shows in a comfort with both the vocabulary of Middle English and the choice of non-historic vocabulary that fits the esthetic. Also: many Easter egg allusions to medieval English literature.


Worldbuilding in Rebecca Barnhouse’s The Coming of the Dragon and Peaceweaver

Patricia H. Ward, College of Charleston

The conflict between presenting a strictly “accurate” historic story, and bringing in modern sensibilites about morality, diversity, etc. in an anachronistic fashion. How do you remain faithful in depicting a historic society (even a fictionalized one, as in Beowulf here)? How do you present the facts while avoiding didacticism?

Potentially problematic topics include valorization of literacy, gender relations, slavery and class differences in general, depiction of Christianity/non-Christian practices. (The paper primarily consists of discussion and summaries of how these types of topics are handled in the books.)


Armored Knights and Winged Faeries: The English Middle Ages and the Medieval Fantasy Novel

Emily Lavin Leverett, Methodist Univ.

Addressing questions about the nature and purpose of accuracy in medieval fantasy. Is it an inherently conservative genre, or can it be used to subvert and expand the historic narrative? This paper particularly addresses the handling of gender in urban (medieval-inspired) fantasy. This work follows the trope of the fantasy-medieval heroine who rises about gender restrictions and disenfranchisement. But even the focus on “rising above” helps establish the default assumption of patriarchy and oppression.

 

The protagonist here begins as a 21st century American urban woman (possibly two women?) on the verge of entering an academic career. I.e., struggling within an opressive patriarchal society. [I’m not getting a clear notion of what happens in the story, but it sounds like it’s a portal-type fantasy where the modern character(s) enter an alternate medieval-inspired story but where the fantasy story is designed to eliminate some of problematic defaults in order to create an adventure story that doesn’t revolve around tired struggles. Or possibly even the modern setting is an alternate version of our world? Unclear.]

Major category: 
Conventions
Thursday, May 11, 2017 - 07:00
cover image - Marian

Reviewer Shira Glassman at the Lesbrary says: "One way to describe Marian by Ella Lyons is that it’s a kiddie version of Heather Rose Jones’s Daughter of Mystery — both are costume dramas featuring a traditionally feminine lesbian with a nurturing personality and a lesbian swordfighter living in a world where it’s not customary for women to participate in combat, both feature father figures who a main character is both attached to and in opposition to, and both feature court intrigue — just to name a few similarities. So if you like the Alpennia books, rejoice because now there’s a young adult novel with a similar flavor."

When Marian Banner moves to the glittering city of Nottingham with her father, Sir Erik the Fortunate, her entire life changes. She is no longer allowed to run about the countryside in trousers and braids, climbing fences and shooting turkeys, but is thrust into a life of dresses and jewels and dancing lessons, none of which Marian is particularly pleased about. Her dark mood changes when she meets a tiny whip of a girl called Robin Hood. Robin is fierce and brave, and wants more than anything to become a knight, regardless of her gender. Together they explore the city, becoming fast friends along the way.

As time passes, their friendship into something bigger and scarier and far more wonderful. But then Marian’s father is killed in service to the king and she catches the king’s eye.

Can Robin save her one more? Or will Marian discover how to save herself?


So maybe just for today I should change it up and suggest that if you like Ella Lyons' Marian, then you should also check out Daughter of Mystery!

Major category: 
Promotion
Wednesday, May 10, 2017 - 16:30

I was planning to skip the diaries this week because of life disruptions from heading to the medieval congress at Kalamazoo, but I have some unexpected down time in Detroit and decent wi-fi, so...

At some point in the past, someone asked about references to knitting in this diaries. At the time, I tried scanning through some of the descriptions of "care packages" and didn't find any. But in Abiel's first letter to Susan this month, he thanks her and Janey for knitting socks to send him. So there's that. "Every time I wear them I shall think of my sweet sisters, whose busy hands furnished me all this comfort."

It's strange to read these entries with the hindsight of knowing that we're within weeks of Lee's surrender.


The Diary and Letters of Abiel Teple LaForge 1842-1878

Transcribed, edited, and annotated by Phyllis G. Jones (his great-granddaughter)

Copyright © 1993, Phyllis G. Jones, All rights reserved

March 1865


LETTER

Head Quarters "I" Company 106th New York Volunteers  Anglo-French Hotel

Before Petersburg Virginia   March 1st 1865

My dear Susan,

Yours of the 22nd ult[imate] was duly received and I assure you relieved my mind of considerable anxiety.  I had not received a letter from you in so long a time that I began to fear you or some of the family were sick.  This little missive, however, eases me of the load of trouble, and I breathe more at my ease.  I beg that you will not wait for letters from me, because they may be delayed by the mail.  Be assured I send them regularly, and that you will in all probability get them sometime.  I am afraid if I were to wait until you answered my letters before I wrote you each time, our correspondence would not be very extensive. 

I am extremely obliged to Janey and yourself for knitting those socks.  I received one pair of them today.  they are splendid socks and do honor to the dear manufacturers.  Every time I wear them I shall think of my sweet sisters, whose busy hands furnished me all this comfort. Thank you both.

I feel very grateful for your kind congratulations to me upon my promotion, but think if hard fighting could earn it, why then it is justly mine.  I have not got as high as I expect to in this war, and trust I shall not disgrace my rank.  I am still Judge Advocate and should have had a permanent position on the Division (General Seymour's) Staff as such, but that the General already has a full Staff.  I like the General very much and think from his actions and what I hear that the feeling is mutual. [Note: Based on context, I think this may be General Truman Seymour.]

I am most happy to inform you that your kind thoughts that I was again on my way home a wounded hero were entirely unfounded.  It is all very pleasant this visiting home to show honorable scars, but I assure you that those same scars are, at first, deucedly inconvenient, so please excuse me.

In reading your letter I began to fear that the boy was not coming in for a share of the contents, but the last part of the letter accounts for his silence by stating that he is asleep and consequently in blissful ignorance that a letter is being written to his unworthy uncle.

We are having no fighting to do at present. Such, however, is not the case with Sherman.  I am almost afraid that he will not go much farther without encountering a formidable foe, and defeat (if he should be defeated) would be annihilation for him, as he is so far from the seacoast.  However Sherman has a good head for military strategy, and I trust will meet with his usual success.  I often hear the men say that Tecumseh will be joining our left some of these fine mornings.

Deserters continue to come in to our lines in large numbers.  They are very doleful in their accounts of "Rebel feelins".

I must close.  Give my sincere thanks to Janey for her kind wishes for my welfare.  Also, remember me kindly to Perry's people, Mother, Joseph, Martha & the boy, Billings, and the neighbors, especially uncle Stephen's people.

And believe me ever,

Your loving brother

Abiel

[written along the edges of pages]  The most reasonable explanation of the Aurora Borealis I have heard, is that the beautiful phenomenon is produced by the reflection of the prismatic rays of the sun by the vast fields of ice which surrounds the pole. [Note: a completely inaccurate, but imaginatively plausible explanation!]

Your address is correct.  I have not heard from father since the letter you sent me.  I am afraid he is worse.  I have never received an answer from my questions to the fortune teller.  I heard the letter was lost.


DIARY [resuming after the missing pages, see discussion last month]

Friday [March] 17th

St. Patrick's day.  Very pleasant. A grand show in the shape of horse racing.  I went up to court and then adjourned and went over to the races. There was a platform erected, on which the generals and ladies took their stand.  There was eight or ten of each present.  Everybody seemed in the best of spirits, and nothing could make them mad.  Several hurdle and flat races took place, and finally a sack race.  The riders in the hurdle races were thrown plentifully. One of them, a Colonel, was thrown over the head of his horse and then the horse fell his whole weight upon him.  The colonel was taken off the field in an ambulance.  When we were coming home, of course we had to run horses some.  The one Lieutenant Hepburn was riding ran away and threw him, hurting him pretty badly.  The horse put one of his eyes out when his head struck the ground.  Aside from these little accidents, the day passed off very pleasantly.

Saturday 18th

Extremely pleasant.  This is such beautiful weather that I should think our army would be constrained to move.  We could move more comfortably now than in mid-summer. Nights are pretty cold, to be sure, but fires could be made easily.  I commenced the trial of Surgeon Freeman and have done with the prosecution today.  It is very disagreeable for me to prosecute an officer of my own regiment in this manner.  Still, my oath binds me to do my duty.  I learn that the Colonel of the 7th New York Volunteers, who was thrown from his horse during the race yesterday, is getting over his injury.  Wrote to Annie of S this evening.

Sunday 19th

I still have to chronicle the continuation of pleasant weather.  The Surgeon yesterday told me that he had almost gotten the idea that I was a special counsel for the prosecution.  I wonder if every person who comes before a court for the first time thinks so, I guess.  I wrote to sister this evening,  I hardly know how to praise the boy enough to suit her, so I just am about to commence running him down.

Monday 20th

Another pleasant day, so warm that it makes one perspire by just riding.  Finished the trial of Surgeon Freeman--all but his final defense, which is his own statement.  The officers of the 14th New Jersey gave an entertainment in the Brigade courtroom this evening.  Had a very fine time dancing and singing. Our band officiated. It is the only string band in the brigade, so has plenty of demands. As soon as the officers began to get tight, I left, as I cannot enjoy that any.  I danced a waltz and shotishe and talked the rest of the time. There was much enjoyment until the whiskey began to operate.  Spring is now pretty well advanced, and the army is ready to move at the first advantage the Rebels give us to do so.

Tuesday 21st

Quite pleasant until night, when it commenced raining.  Finished the Doctor's trial today. If I had possessed any malice against him, I could have managed things so that he would have to be cohiered [Note: cashiered?] by the court. But as it is, he will be all right, as the court have acquitted him. I wrote to friend Beaugureau this evening, repaying the pretty girl he spoke of, by sending my love to her.

Wednesday 22nd

The wind has blown a perfect gale all day.  The ground is very dry, and this wind has raised such clouds of dust that it is almost impossible to see two rods.  The dust finds its way into our shanties in quantities large enough to cover everything in no time.  It is difficult to breathe or hold ones eyes open. I was over to Division Head Quarters most of the P.M.  Received a letter from Ex. Lieutenant Munro this evening. [Note: I'm not sure what the "ex" stands for here. Perhaps someone more conversant with army ranks will recognize it easily. ETA: or maybe this is simply "Former Lieutenant"? I need an index so I can track what's been said about Munro in the past!] Also one from 4'.4. [Note: By Abiel's cipher, this should be "M. D." but I'm not sure who it refers to.] Commenced writing to John Clemence, but did not finish. The wind has gone down.

Thursday 23rd

I really believe that the wind has taken a contract to blow all of these plains into the James river at the shortest possible notice.  Such a terrific gale as has been blowing since sunrise, I never saw before.  I have a pretty good idea of a sand storm on the deserts now.  Such clouds of sand and dust I supposed could not be raised by the wind. It kept falling on our tents, with very much the same sound as would be produced by a very fine and thick hail.  Outdoors, great clouds of dust 600 or 800 feet high were driving across the heavens.  Much difficulty was experienced in breathing at times.  Our tents seemed insufficient to keep the sand out of our shanties.  It sifted through them like snow through a thatch.  Everything was covered.  When I ate, I put a newspaper over my head, so as to form an additional cover for my victuals.

[Spelling note: Twice in this month's entries, I've noticed Abiel spelling "such" as "shuch". I've standardized the spellings for ease of reading. This doesn't seem to be a deliberate self-conscious "dialectal" spelling as he sometimes features (often in scare-quotes), but it may reflect a phonetic rendering of the word as he pronounces it.]

Friday 24th

Quite cold today, not so windy.  Grand havoc was made with the tents yesterday.  I saw many which had got loose in some part and were blown into ribbons before they could be secured.  I received a paper from Uncle John.  I find that I am consulted as a lawyer might be at home.  If an officer wants an application for Leave of Absence to be made out, it's now, "Captain, you know how that should be; won't you do it for me?"  If one wants to resign he is directed to Captain LaForge.  "Now Captain, won't you make me a good statement upon which to tender my resignation?"  I have just made out one of the last for Lieutenant Collins. [Note: Yet one more example of the esteem Abiel was held in, though of a more practical form that some others. I suspect that practice he gets in law and regulations as Judge Advocate adds to people's confidence in his abilities here.] 

Saturday 25th

Still cold  We were ordered out in considerable haste this morning. The enemy made a sudden dash and succeeded in surprising and capturing two of our forts [on the] Appomattox. One division of our corps was ordered down there and our brigade, being a reserve, was put onto the ground they vacated to hold that from any attack, owing to the fact we were not actively engaged during the day. Our forts were retaken by our men, and many of the Rebs captured in them.

This P.M. an advance was ordered on our left. The enemy were driven back a considerable distance; nearly their entire picket line was captured. Our loss was small in killed and wounded, and none captured. Our division lost in all about 150 men. Most of these were men of the second brigade.

About five P.M., a grand charge was made by the 2nd Corps on the left of their line, which they succeeded in advancing 3/4 of a mile.  During the heaviest part of the firing, the President, Generals Grant and Mead, and other General officers, also many distinguished foreigners, the Generals' wives, and the President's son, came to the fort we were garrisoning and watched the fight with their glasses for quite a long time.  When they went away, the soldiers gave them a hearty cheer. [Note: This appears to be the Battle of Fort Stedman.]

Rained some  just at dark  cold enough to be very disagreeable  we built small fires and tried to keep ourselves as comfortable as possible but it was poor comfort at best,  we were relieved and came into camp at 3-1/2 O.C. after spending the worst of the night on the line.  Taking the day's operations as a whole, it has been a losing game to the Johnnies. [Note: Abiel doesn't have the benefit if hindsight: that day's operations as a whole were the last meaningful action before the Confederate defenses collapsed.]

Sunday 26th

Still quite cold.  I feel pretty lame and sore today.  Ex Captain Briggs returned from leave of absence today. [Note: Then perhaps "ex" is simply straightforwardly "former"?] He is now Lieutenant Colonel. The Quarter Master also returned.  Everything has been quiet, except now and then a shot on the picket line.  Our regiment all went out on picket tonight, with the exception of detailed officers, of which myself is one.  I rode over to see Colonel Smith, the President of our court.  He was reported killed yesterday, but is alive and well.  Major Spangler, one of the members, was wounded.  I wrote to sister and John Clemence this evening.  Received a letter from sister, and one from Sam Clemence this evening.


LETTER [very faint]

Head Quarters I Company 106th New York Volunteers 

Anglo-French Hotel, Before Petersburg Virginia,  March 26th, 1865

My dear Sister,

I received your kind letter of the 14th not about ten minutes ago and hasten to reply.  You will see by my memorandum that our long continued quiet has been disturbed at last.  I judge that the disturbers of our peace have regretted it that they did so, however, for their loss has been much greater than ours and [illegible] they are our enemies and [illegible] the most discontented [illegible] I ever heard of.

The mail man is coming now and I have only time to write a word or two and depend on the [illegible] I hardly expect to [illegible] th[e] boy would be useless yet. I beg of you [illegible] precious as if he was gold and more so [illegible] face looking so bright as when I come home.

Tell Joseph that I am sorry to be obliged [illegible] his invitation to the sugar lick.  Give Janie, mother, Perry['s] People, and the rest my kindest regards and believe me ever your loving brother,

Bijou

In haste I should judge, Capt. &c.

(added in darker ink)  Ever thine, no storms which may come across our paths in after life, can sever the bonds of love which now bind our hearts. [Note: This line has the feel of a quotation, being a slightly more poetic register than Abiel's usual language. But I can't identify a likely source by googling key phrases of it.]

Lafy [Note: this appears to be a new nickname Abiel gives himself, clearly a shortening of "LaForge".]


Monday, March 27th 1865

Day quite warm. Our whole regiment came off picket this evening about 10 O.C.  The men were pretty tired, cold, and sleepy.  The rebs attacked the picket of the 2nd Division driving them back a considerable distance.  That division advanced their line too far from the breastworks yesterday.  Dr. Carpenter received his commission as Surgeon of the 43rd New York Volunteers. He says that he does not care whether he can get mustered or not.

Tuesday 28

Very pleasant. Another move is on foot.  Part of the army of the James has came to this side of the river, and are moving up to the left.  I understand that Sheridan is to take an expedition off to the left for some purpose.  He may try to move on Weldon or strike the South Side Rail Road. I think we shall move tomorrow.

Wednesday 29th

We were ordered to move at 8 this A.M.  Broke camp and moved up to the ground occupied by the 2nd Corps. The expedition has started to the left.  We were deployed on the breastwork until 4 P.M. and then assembled,  got our supper, and were then marched out on the picket line. Our whole regiment went on.  I had charge of the regiment.  Deployed them on the picket line and then went up to the reserve.

Thursday 30

On picket all day. Tained pretty hard all last night and today. There has been some very hard fighting on the left. Sheridan is evidently stirring the rebs up.  Orders came that we were not to be relieved tonight, as a charge on the enemy's lines was to be made.  Major Paine came out to relieve the officer of the day.  A little after dark I went through the whole picket line with him, to show him where the line was. We had to wade two pretty bad swamps.

I had already been three times over the line and was very tired. I tried to get a little sleep when I got back to the reserve post, so that I should feel a little more like fighting, but before I got to sleep, two reb. Deserters were brought in. They said that they had a strong picket but the men in the breastworks were deployed three paces apart.  I made up my mind that if we were not all killed by grape and cannister we could carry the works easily. After disposing of these, I again laid down, but before I got to sleep, two more deserters were brought in. They said that a brigade of rebs had just arrived at the works. This made things more doubtful.  Just after these were disposed of, an order came that we should not charge the works.  Half an hour after, this was countermanded: we were to charge about 2 oclock. A final order came not to charge, so we are not in a way to cover ourselves with glory after all. [Note: I'm imagining Abiel doing some Olympic-level eye-rolling as he writes this up.]

Friday 31st

A very fair day, but rained all night and until 9 A.M.  After two nights awake, I felt very tired and sleepy, but before we could get a chance to get breakfast, the brigade was ordered out again. We marched to the top of a hill so as to show ourselves to the rebs and remained there until an hour before sundown, and then came back and were assigned to the camp previously occupied by the 4th New York H.A. [Note: Not sure how to explan "H.A."]  A very good camp. I only hope we may be allowed to keep it all night, so as to get our much needed rest.  Heavy firing has been heard at intervals all day, three or four miles to our left.

Major category: 
LaForge Civil War Diaries
Wednesday, May 10, 2017 - 07:00
cover image - Christmas at Winterbourne

Christmas at Winterbourne by Jen Silver was perhaps a bit more topical as a holiday book when it was released back in November. But if you like contemporary lesbian romance with large complex casts, check it out! You can get a taste of the book at the Book Clips series of The Lesbian Talk Show podcast. (Disclaimer: my own Lesbian Historic Motif Podcast is one of the Lesbian Talk Show segments!)

The Christmas festivities for the guests booked into Winterbourne House have all the goings-on of a traditional holiday. The only difference is that this guesthouse is run by lesbians, for lesbians.

When the guests arrive, tensions are already simmering between the house's owner Wilma (Wil) and very pregnant partner, Gabriella. Wil has a lot on her plate...ensuring the smooth running of the events, looking after all the guests, including her in-laws and business partners. What she hasn't planned for is a ghost from Christmas past.

Wil inherited Winterbourne from her adopted mother, Kim Russell, author of a series of successful lesbian novels. Most of the guests who stay, do so because they are fans of the author.

One guest, Sally Hunter, is on a mission to write Kim's official biography. She meets with resistance from the people at the house she tries to interview, stirring up memories from those who knew the reclusive writer well.

For a bit of extra spice to the festivities, add in an unexpected snowstorm, a disappearing guest, and an imminent birth. Join the guests and staff at Winterbourne for a Christmas you'll not soon forget.


And talk about large complex casts, the third Alpennia novel, Mother of Souls, braids together the points of view of five characters: Serafina Talarico, a frustrated thaumaturgist from an Italian/Ethiopian family who seeks a teacher in...Margerit Sovitre, appointed thaumaturgist to the princess of Alpennia, who is struggling to understand the seeming curse looming over the land but finds the rock of her existence in...Barbara, Baroness Saveze, tackling the challenges of adding to her estates and responsibilities while getting further enmeshed in Alpennian politics...whose cousin Antuniet Chazillen has decided to ensure her legacy with a new and different alchemical project to the dismay of her lover...Jeanne, Vicomtesse de Cherdilac, who is finding a new vocation in training Antuniet's apprentice as a salonniere and is expanding her patronage of overlooked women artists like...Luzie Valorin, a widowed music teacher who has an ambition to write an opera on the life of the medieval philosopher Tanfrit, and who finds an unexpected collaborator in her tenant...Serafina Talarico!

Major category: 
Promotion
Tuesday, May 9, 2017 - 07:00
cover image - Timekeeper

Timekeeper by Tara Sim looks like a fascinating story, and one I haven't heard any buzz about in the circles I run in (which are usually pretty interested in young adult fantasy, especially books with queer romantic elements). I hope some of my readers check it out and let me know what you think!

Seventeen-year-old clock mechanic Danny Hart’s father has been trapped in a Stopped town east of London for three years. Though Danny is a prodigy who can repair not only clockwork, but the very fabric of time, his fixation with staging a rescue is quickly becoming a concern to his superiors. And so they assign him to Enfield, a town where the tower seems to be forever plagued with problems. Danny’s new apprentice both annoys and intrigues him, and though the boy is eager to work, he maintains a secretive distance. Danny soon discovers why: he is the tower’s clock spirit, a mythical being that oversees Enfield’s time. Though the boys are drawn together by their loneliness, Danny knows falling in love with a clock spirit is forbidden, and means risking everything he’s fought to achieve. But when a series of bombings at nearby towers threaten to Stop more cities, Danny must race to prevent Enfield from becoming the next target or he’ll not only lose his father, but the boy he loves, forever.


The Great November Book Release Re-Boot is a month-long series covering November 2016 books that may have been overlooked in the aftermath of the US election. I encourage people to check these books out, and to give another look at my own November release, Mother of Souls, the third book in the Alpennia Ruritanian regency-era fantasy series.

Major category: 
Promotion

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