In a future post-apocalyptic Sudan, genocide between different tribes still occurs. When a woman is raped by the military leader of another tribe, she wanders into the desert, hoping to die. When she discovers she is pregnant, she lives in the desert for years and raises her daughter to be strong and fierce. They eventually move into a town so the girl, Onyesonwu, can attend school. There, Onye learns that she has strange and frightening abilities, able to turn herself into animals or travel a spirit realm. Convincing the town’s shaman to train her, Onye soon learns that a powerful sorcerer is trying to kill her in order to prevent a prophecy from coming true, a prophecy that says Onye is the person who will change the fabric of her society.
There is so much to unpack in this novel. On the surface, it can be read just as a fantasy/ post-apocalyptic story. But if you pay attention, you can see the seamless manner in which traditional legends, stories, and customs are woven in with technology like computers, capture stations, and GPS. The blending of the traditional and the technological is, I think, a commentary on contemporary Africa. I have never been to any country in Africa, but I know several people who have and from what they say, it seems reflective of various societies. I wonder if the connection to the traditional is simply too strong to abandon, despite the advances in technology available.
As part of the 2019 Read Harder challenge, I chose this book to complete the task for ‘read a collection of poetry published since 2014.’ I am the first to confess that I rarely read poetry and I am often confounded by it. However, in the interests of full disclosure, Anne is a friend of mine so it felt natural to want to use her book to complete this task; friendship aside, though, I find her poems to be beautifully feminine and strong as well as challenging.
Anne was the person who taught me what found poetry is. I was delighted to learn this, because it was something I had done for ages and ages, from childhood, and just didn’t know there was a real name for it. I find it to be a really stunning form of art and would like to learn more about it, maybe even try some of my own, just for a new thing to hang on my library wall if nothing else.
I don’t really know how to review poetry. I think that this collection, though, has a strong theme of feminism and lost innocence to it. Many of the poems evoke feelings of nostalgia for our younger selves, for wishing we had known then what we know now, and more than a little disappointment and heartbreak at the way things turn out in the end. My favorite poems in the collection are ‘A World Divided’, ‘the asylum’, and ‘The Cure for Thinking’. These, to me, sum up so much of a woman’s experience that it is a little shocking to find in such a few brief lines.
In the year 1112, a young girl who had been given to the church by her parents as a tithe was entombed in an anchorite’s cell with another woman, Jutta. The mass of the dead was performed over the enclosed cell, as was customary, and the girl became an anchoress until her eventual release in 1136 upon Jutta’s death. The girl, now around 38 years old, was then unanimously declared as the next abbess of the Disenbodenberg convent. She went on to become a renowned theologian, composer, and mystic. The girl was Hildegard of Bingen (1098 – 17 Sept 1179), medieval firebrand, visionary, thorn in the side of her male contemporaries, and she remains as relevant today as she was in her own time.
Hildegard was a product of her time and was not a feminist by any modern definition of the word, but she was a fierce advocate of the sacred value of women. Her theology was feminine, focusing largely on the idea of God as a cosmic egg, a womb that nurtures all things. She acknowledged the dogma of her time, which decreed that God was male, but she claimed that she was unable to bear looking upon the divine in her visions unless it presented as female. Although women were prohibited from preaching, nevertheless, she persisted, going on several tours to preach to her male superiors about the sins of the Church, which was rife with sexual misconduct and corruption. One of Hildegard’s more interesting visions, Ecclesia, depicts the Church giving birth to the Antichrist because of the venality of its clergy. She was not afraid of confrontation, and even wrote scathing letters to Pope Anastasius IV about the sad state of his Church:
You are neglecting justice, the King’s daughter [the Church], the heavenly bride, the woman who was entrusted to you. And you are even tolerant that this princess be hurled to the ground. Her crown and jeweled raiment are torn to pieces through the moral crudeness of men who bark like dogs and make stupid sounds like chickens which sometimes begin to cackle in the middle of the night. They are hypocrites. (Fox, 1987, p. 274)
At one point, Hildegard and her nuns were even placed under interdict for refusing to comply with orders to disinter a suspected apostate, whom Hildegard allowed to be buried in hallowed ground in her convent. Hildegard refused to relent and eventually the interdict was lifted. She could, and did, go toe to toe with male authority, and bravely fought for her beliefs within the system that was available to her.
Hildegard was also a gifted composer of music, another realm generally designated for men only. Because she was a Benedictine nun and adhered to that order’s strict daily schedule, she sang the Divine Office eight times a day. She believed that singing was the highest form of prayer and music connected humankind directly to the divine. During her interdict, she was prohibited from singing, which was the harshest punishment for her. Hildegard said in a letter to the prelates of Mainz that “the soul is arises from heavenly harmony” (Fox, 1987, p. 359) and in music she referred to herself as a feather on the breath of God. She wrote over 70 songs and Ordo Virtutum, which is sometimes considered to be the first opera. A sampling of her songs may be found at the following sites: https://www.youtube.com/watch?v=Q8gK0_PgIgY or http://www.slacker.com/artist/hildegard-von-bingen
Her mystical visions still bring inspiration. Often, they reflect her concept of Viriditas, the greening power, which she believed was the divine made manifest in everything on earth. She wrote, “I, the fiery life of divine essence, am aflame beyond the beauty of the meadows, I gleam in the waters, and I burn in the sun, moon and stars … I awaken everything to life” (Fox, 1987, p. 8-10). Hildegard felt the creation of all things reflected the face of the divine and that nature was sacred, something that is “highly relevant for us in this age of climate change and the destruction of natural habitats” (Sharratt, 2012, para. 6).
Hildegard’s death on September 17, 1179 marks a date of commemoration for this woman, a medieval mystic, visionary, healer, and saint. She was ordained a Doctor of the Church 900 years after her death. Today, women the world over still find solace and strength in her words and songs. We can use her for guidance to find our own viriditas, strength, and sacredness in nature, regardless of faith or lack thereof.
The Virgin Queen. Good Queen Bess. Gloriana. By whatever name one called her, Elizabeth I, daughter of Henry VIII and Anne Boleyn, granddaughter of the indomitable Elizabeth of York, was no woman to be trifled with. On September 7, we mark the 484th anniversary of her birth and the beginning of a long, tumultuous, vibrant life. Her reign is known as the Golden Age of England, during which time writers such as Shakespeare, Marlowe, and Spenser crafted their literary masterpieces; artists like Hilliard, Gower, and Segar painted portraits still recognized the world over; and the music of Tallis, Dowland, and Campion echoed in cathedrals and town squares alike. Elizabeth was quite possibly the apex of the British monarchy, but there are several things not commonly known about this Renaissance powerhouse.
Elizabeth may have been more traumatized by her mother’s execution than she could risk admitting to. She grew up hearing her mother called “The Great Whore,” who was beheaded by her father, Henry VIII, on false accusations of treason and adultery, before Elizabeth was three. However, there are signs that Elizabeth was secretly devoted to her lost mother in ways she couldn’t express openly. A locket ring was removed from her hand after her death which held a miniature of Anne. In a family portrait, she also wore a necklace with her mother’s “A” at her throat, an act which would have landed her in quite a lot of trouble had her father noticed it. At various times of her youth, she was a princess, declared a bastard and removed from the line of succession, reinstated, a political prisoner held in the Tower, and survived sexual scandal that led, in part, to the execution of Sir Thomas Seymour. All without a mother to comfort her.
Her difficult childhood tempered her, though, and her humanist education honed her already keen intelligence. Elizabeth was a polyglot, fluent in six languages by the time she was 11 years old – French, Greek, Latin, Spanish, Welsh and of course English. She also studied others and had a functional understanding of Flemish, Italian, and Gaelic. She learned Gaelic as part of her diplomatic attempts to subdue an Irish rebellion in the 1590s. Diplomacy and oration were great strengths for Elizabeth. She often used flirtation and flattery in her diplomacy to goad her male contemporaries into granting her political wishes. England was in dire straits when she came to the throne and she was pressured on many fronts to marry to secure various alliances and produce an heir, yet Elizabeth remained steadfastly unwed while still maintaining good relations with the majority of Europe throughout her reign. In a 1559 speech to Parliament, she said,
…I am already bound unto an husband, which is the kingdom of England, and that may suffice you. And this… makes me wonder that you forget, yourselves, the pledge of this alliance which I have made with my kingdom. … And reproach me so no more … that I have no children: for every one of you, and as many as are English, are my children and kinsfolks…. (Elizabeth I, 2000, p. 59)
Remaining unwed and fully in control of her government during a time in which women were most often used as bargaining chips, means to getting heirs, securing alliances, and bettering one’s social standing was a testament to Elizabeth’s strength of will and shrewd political acumen.
Another pressing issue of her reign was poverty. Elizabeth created the Act for the Relief of the Poor in 1597, which was the first fully comprehensive bill for poverty relief. It was later amended by the Elizabethan Poor Act of 1601, which remained unchanged until the mid-1800s. The Elizabethan Poor Act essentially taxed the wealthier citizens of the country to provide food, shelter, and clothing to the poor, generally within their own communities. People who were unable to work, such as the very young, the elderly, or the mentally or physically disabled, were cared for in an almshouse or poorhouse. People who could work were sent to “houses of industry.” These were the precursors to the infamous Victorian workhouses, but in Elizabeth’s time, they were a vast improvement over being labeled a vagrant, a hanging offence. Children who were old enough to work were made apprentices in various trades. People who were too lazy to work, though, were on their own and would either have to decide to work or would eventually wind up in prison or be hanged as a persistent beggar, as the term was known under the Vagrancy Act of 1547 (Rathbone, 2017). Elizabeth instituted what were, for the time, sweeping reforms for the care of the poor.
Elizabeth may be best known for reigning during the time of Shakespeare, Spenser, Marlowe, and the like, but her own contributions to her country and culture cannot be overlooked. She was the woman who was never meant to be Queen but who became one of the most beloved monarchs of the British monarchy. She was the woman who roused her troops with speeches worthy of the gods. Gloriana.
The Pearl The Broke Its Shell is a dual timeline narrative told mostly from the perspective of Rahima, a young woman living near Kabul in 2007. She and her sisters are the children of an opium-addicted father and, with no brothers to help the family, their prospects for improving their life or marriage prospects are grim. Their rebellious aunt, Shaima, suggests that Rahima follow an old custom called the bacha posh, which not only sounds like Klingon the way the narrator pronounced it, but it the tradition of allowing a girl to dress and act as a boy when there are no other boys in a family. She can go to school, run errands for her mother, and chaperone her other sisters. In this way, Rahima becomes Rahim and becomes a boy until she reaches marriageable age and her father marries her and her two other eldest sisters off. By marriageable, I mean she was 13.
The tradition of bacha posh was not unique to Rahima’s family. She had a many-times-great grandmother, Shekiba, who had lived as a man near the turn of the century as well. The secondary timeline follows her story from her small village and farmstead, through the cholera epidemic that wiped out her entire family, and how she lived as a man in order to survive.
This was such a thought provoking novel. Though fiction, it deals with issues which happened in real life and which are still highly relevant today – child marriage, honor killing, domestic abuse, drug addiction, and many other issues. Any one of these things is enough to break a person, but underneath all this is woven the strength of women. Rahima and Shekiba, as well as the other women throughout the book, all suffer hardships, sacrifices, abuses, and losses that are unimaginable. Some, like Rahima’s sister Parwin, are overcome. But others, like Rahima and Shekiba themselves, keep fighting even when they think they’ve come to the end of their strength and can’t go any further or endure anything else life could possibly throw at them. In the end, Shekiba’s story becomes a source of strength for Rahima, and Rahima becomes the pearl that breaks her shell.
I loved the use of bird imagery as well throughout the book. Parwin was fond of drawing birds, there were birds singing and fluttering about in many pivotal scenes. Birds have some significant parts in Islamic culture, from the “Miracle of the Birds” when Abyssinian forces were supposedly annihilated by birds dropping pebbles from the sky to prevent them from entering Mecca and destroying the Ka’bah, to stories found in The Thousand and One Arabian Nights to works by Sufi poets and Islamic mystics. Including the bird imagery elevates the narratives of the women and equates them to many of the mystics or saints from other cultures in some ways, those who were made holy through their suffering, like medieval saints. I am not sure if that is intentional or not, but the image is there all the same.
This mystic thread continues in the book’s title, which is derived from the ecstatic poem “There Is Some Kiss We Want” by Rumi, the 13th century Sufi poet. It is a lovely poem:
A couple of months ago, I sat down to chat with author Judith Starkston about her new book, Priestess of Ishana. With deepest apologies to Judith about the delay in writing this article, especially as she was so gracious about giving me the interview – and feeding me in her own home, no less! – I want to talk a little bit about the awesome lady and the research behind a truly unique new series of books.
The series, which begins with Priestess… and will carry on with a forthcoming book (yay!) is based on Starkston’s research of the Hittite culture. I touched on this a little bit in my initial review of the book both on my blog and the historical novel review site, Discovering Diamonds. Her research is deep and accurate, and I would expect nothing less of her since she is a Classicist who is committed to providing detailed information about the ancient world in a fun and accessible way.
One of the overarching themes I noted in the book involve politics and shows men trying to keep women submissive. Starkston comments, “There are a lot of correlations between the politics of then and now. We like to think of history as progressing, but that isn’t always the case.” She goes on to explain about Hittite culture and how women like Tesha, her main character who is based on the real-life Hittite queenPuduhepa, were allowed to stay queens after their husband died. Often, if they had a son, they would navigate their power to get their sons on the throne, because there was always a king, unlike, for example, in Tudor England with Elizabeth I. But generally speaking, Hittite women had more power and freedom than Victorian women – they had property, could keep children even after a divorce, and they were allowed to initiate a divorce. Priestesses in particular had a key business and financial role as well as religious. The temples are sometimes referred to by scholars as “Little Vaticans” since they held so much power and influence over other non-religious institutions.
The rites and rituals portrayed in Starkston’s book are fascinating and full of magic. They also come directly from existing Hittite records; none of them are made up. While this might seem unbelievable to modern readers, Starkston explains that the Hittite culture is imminently well-suited for a fantasy novel.
She says, “When I decided to change the series from straight historical fiction to fantasy, it was actually really liberating. There is so much about how they view the world that is hardwired for magic.” For example, there is a detailed scene where Tesha performs a rite in a cave to banish an evil spirit, which they believed was lingering because a man was burnt to death. The entire ritual comes directly from cuneiform records. Similarly, another ritual, not used in the book but which Starkston discovered about Hittite culture, deals with disputes within a family. When such instances occur, the family would call in a priestess to heal them, believing it was an illness. The priestess would make wax tongues, the family would say the words of the argument, then spit on the wax and burn it. Based on court records, Starkston explains that this ritual and other similar ones showed that the Hittites believed words were the most powerful thing, curses were believed to be real and were feared, and correcting bad words is written into the culture. Such belief is woven into the fabric of Priestess of Ishana at every level.
Another element of the book I truly loved were the mouth-watering descriptions of the food. I’m a foodie and I love to learn about new places and foods based on the books I read. Some of the foods in Priestess were made up to reinforce the fantasy elements, but overall, the foods in the book were also based on archaeological records and DNA studies of the residue from around hearths or pots, which can tell us if they contained wine, grains, cheese, and so on.
Starkston says, “Food is core to understanding a culture, so I really wanted to highlight it.” Indeed, she did. One of my favorite scenes involved Tesha and Hattu eating the stamens of large flowers in the temple. Who knew that eating flowers could be so sexy?
The flowers in this scene were made up, but the rest of the food in the same scene was not. I asked Starkston if she had ever tried making any of the recipes she had written about in the book or discovered in the historical record. Not only has she done so, she actually made a cookbook based on them. They are based on ingredients and techniques available at the time. All the recipes mentioned in her books are collected there and if you sign up for her newsletter, she will send it to you for free. I have tried some of them and I have to say, they are GOOD. My favorites are her hummus, lamb and lentil stew with raisins (though I hate raisins so I substituted with dried blueberries and it was delish), and the almond-stuffed dates. Seriously, the recipes are scrumptious and are fancy enough to impress your friends at a dinner party. That they are based on ancient recipes is just a delightful bonus for history nerds.
Starkston’s series will continue with a second novel, which I, for one, am eagerly anticipating. As yet, there is not a release date for the second book, though she says Tesha’s sister Daniti will be a point-of-view character. This will prove fascinating, as Daniti is blind, having lost her sight from chickenpox as a child. The way Starkston approaches illness and physical imperfection in the novel struck a balance between actual beliefs from antiquity. She is doing a lot of research to create as authentic a character as possible in Daniti. She says, “Since I found no evidence of how blindness might have been treated in Hittite society, or how the blind might have been viewed, I worked from close cultures like Sumerians to extrapolate. But there were split ideas toward blindness in ancient world. They were either thought to have inner visions sent by a god, like Homer’s ability, or they were thought to have a deformity or imperfection. Daniti is viewed by her father as cursed. Whatever went wrong was always the fault of the sick person, for example. So I made her an outcast, which was historically accurate, except that she and Tesha are close.”
Daniti is a strong woman, something Starkston excels at crafting. She creates women who can take on an enemy and do it without a sword. Tesha and Daniti are both women of deep strength.
Do magic and fantasy sit well together within historical fiction – indeed can such novels even be counted as historical? Should ‘historical’ be as accurate as possible without the addition of magic or obvious fantasy, or is there leeway for diversification? Should a book that is clearly fantasy in essence, but has its background of characters and general plot set very firmly within an accurately researched historical setting be considered as historical or as a fantasy novel, set in a fantasy world that is very loosely based in history, and therefore have no right to be classed as ‘historical’? What actually constitutes history or fantasy, anyway? Is the merging of fantasy into history acceptable? In short, of course it is! Within the varied genres of historical fiction, is it not this diversity which makes reading novels set in the past so exciting? The accurate biographical type novels of the lives of known people (usually kings and queens, or men and women of note) is one branch of historical fiction where the known facts are imperative to ensure the overall feel of ‘believability’ is ensured. For the other genres, mysteries, thrillers, romance, timeslip, alternative, it is the depth of the background research that creates the feeling of realism. If fantasy is not acceptable for historical fiction we would be sadly deprived of many wonderful novels and series: Mary Stewart, Barbara Erskine, Du Maurier to name just three – and there would be no Outlander!
When I find an author who writes a unique story, and who does it really well, it is a delight. When that story is also based on actual fact, as Judith Starkston’s novel is, it undergoes an alchemical change from just a fun story into a jaw-dropping narrative of women in the ancient world, struggling to gain their own agency, find their strength and bravery, give love to those around them, and fulfil a destiny. It provides an insight into what life was really like and shines a light on the human condition. We can look beyond the elements of fantasy and see the real people behind the magic.
And really, isn’t that what good literature is supposed to do, be it fact or fantasy?
In late-14th century France, Charles VI “the Mad,” rules. Probably a lot of people would like for France not to be ruled by a guy who is off his rocker, including his brother, the Duke of Orleans. Then, at a masquerade ball, the king and several of his friends decide to cause some mayhem and dress up like wildmen. To do so, they stick fur and leaves to themselves using pitch. This turns out to be a spectacularly bad idea, because a spark, presumably from the Duke of Orleans’s torch, catches on one of their outfits, causing four of the men to burn to death and the king to narrowly escape the same fate. Everyone suspects the Duke. However, some other people attending, including Christine de Pizan (yes, that Christine de Pizan) see something others didn’t – another torch, which was thrown from a spot far away from the Duke’s location. He still had both of his torches and yet there was a third torch on the floor, in the middle of the burning men. The Queen, Isabeau of Bavaria, asks Christine to find out who wants the king dead, for she is certain that he was the target of an attempted assassination. Aided by a colorful array of sidekicks, including a prostitute who actually makes her living at embroidery, a dwarf who works for the Queen, and a deaf girl who takes care of the King’s lions, Christine undertakes an investigation. It leads her from the twisted politics of the court, to various potential targets and culprits with different reasons to want the victims dead, and straight into the sights of a killer.
In the Shadow of the Enemy is actually the second in the Christine de Pizan series, but it was the first one I’ve read. That made no difference to my utter enjoyment of the book, though, as this story is a standalone. The first book was referenced enough that it filled in any gaps there might have been, sometimes a little too thoroughly – there are totally spoilers for the first book, so I didn’t think that was very well done at all. I’m still going to read the first book, though, and just hope that I’ve forgotten what the spoilers are by the time I actually get around to it.
I adore the fact that Christine de Pizan, author of The Book of the City of Ladies (Penguin Classics), is the protagonist here. I love it when real women from history are the stars in literature interesting new ways. She is a complex character, and all the secondary characters are multifaceted as well. Marion the prostitute was my second favorite, with her big personality and capacity for warmth and generosity and her inexplicable reluctance to tell people she isn’t actually a prostitute anymore. Christine’s mother, Francesca, was also a fun, minor addition. She reminds me of my grandmother in a lot of ways. The one thing I thought was weird was Klara’s utter and sudden change of heart regarding her husband Martin and her views on her brother, Willem. Those both seemed too convenient for me, but in the scheme of things, I can overlook this minor quibble.
The mix of medieval attitudes towards people, including those deemed “defective”, such as dwarves or deaf people, and even towards Christine herself, is so realistic. People thought Loyse, the deaf girl, had demons because they didn’t understand that she acted as she did simply because she couldn’t hear or understand others. The dwarf, Alips, was viewed with deep suspicion and hatred because it was thought that dwarves bring bad luck, or that the way they look on the outside reflected a corrupt soul. And, of course, women were viewed as second class citizens and were treated as such. So much religious bullshit. The research that clearly went into the novel is apparent and appreciated. The imagery brings to life medieval France in an immediate way, from the descriptions of the court and its kitchens and gardens to the streets and their various inhabitants. The plot was pleasingly complex and included a lot of history about French warfare, or at least one battle in particular. Overall, this was a fast, fairly light read and I happily recommend it. I even went to the library and got the first one in the series. I’ll read a few other books before I read that one, though, to see if I forget the spoilers for it that were in this book. Hmph.
*This is a much longer and more detailed review of the one which was originally published by the Historical Novel Society.
Black Lily is the tale of Zenobia and Lily. Zenobia was born into poverty, the daughter of an impoverished young girl who became the mistress of a shipping mogul. It is possible he was Greek or Middle Eastern but if it ever said, I missed that part. He was surprised when Zenobia was born blonde. Lily is a black woman who was brought to London from the Caribbean on a sugar and slave ship as a toy to a rich lord. She was a kept woman for a rich merchant who ended up being connected to Zenobia in a surprising way. The lives of these women continue to intertwine in intricate, often horrific, ways, and they both have to learn how to navigate society to her best advantage when her value is entirely decided by the men who control them. Lily ends up being a hidden driving force throughout Zenobia’s entire adult life in ways she never even knows. In turn, Zenobia unwittingly is a savior of sorts to Lily. Another woman, Lily’s maidservant, Agatha, is yet another link between the three women, forging deeper connections and bonds that are strong enough to keep the secrets they all hide from society and the men around them. Read More »
Circe is the tale of a fascinating but somewhat overlooked woman from Greek myth. She is the daughter of the sun god Helios, a lesser divinity, immortal, and a witch. She has the power to transform things and she knows the inherent magic in plants. Most of us know her from her role in The Odyssey, which was significant even if it wasn’t long. This novel tells her tale from her childhood, her self-discovery, and how she finds a place for herself in the harsh world of the gods.
I absolutely loved how Circe deals with her role in and among the gods. She never has an easy time – she has the worst time, really – but she is a woman in a man’s world and she still makes a place for herself. She is seen, and forces the divinities to acknowledge her in some way, whether any of them like it or not, including her. I think this really mirrors the experiences of modern women in that we still struggle to be seen and be taken for granted, not be underestimated, and not shuffled off or ignored as though we are worthless.
When Circe encounters Prometheus, it sets the stage for her entire life. She learns she can defy the gods to an extent. Perhaps she will be punished for her defiance if she gets caught, but she also learns they don’t actually know everything and there are things people can do and get away with that they never know about. She manages to make this idea central in her own life, defying the gods in subtle and not so subtle ways.
I really loved the way crafts were woven throughout as well. They were, however, divided by traditional gender roles. It makes sense within the context of the narrative, though, since Circe, Penelope, Medea, were expected to know certain things and not others, and vice versa for Odysseus or Daedalus. The women knew weaving and spinning, herb lore, healing and midwifery. The men knew smithing, metalwork, sculpting, and woodworking. Breaking down crafts by gender roles reinforces the roles and highlights the fact that even the gods are similar to humans in this world, which is super interesting because, even though the gods are immortal and have various powers, they are still limited in some ways with what they can do. They are governed largely by their emotions and desires. In many of the ways that count, they act more like immortal toddlers than as wise beings. Humans tend to be more reasonable in some situations than the gods, which I think is interesting. Is it how Circe sees the gods and humans, or is that how it truly is here? Intriguing commentary, either way.
There are just too many things that could be discussed for one review – how parents view their children and vice versa; the relationship between Circe and her sister Pasiphae or her brother Aeetes; how Daedalus affects Circe; Medea; Penelope, Telemachus, and Odysseus; power dynamics; transformations of a multitude variety. Like the Greek myths themselves, you could probably write a dissertation about the ways to interpret this novel, how the characters influence each other and the world around them, gender roles and expectations, or the role of choice and fate. I loved this book, and I love strong women, and strong women figuring out that they are strong is just the best.
I haven’t even gotten into the sheer beauty of Miller’s writing style. I think I will have to do a separate post just with my favorite lines from the book.
In any case, this is very highly recommended and an excellent way to get a ton of Greek mythology without reading the source material, if that isn’t really your thing. Though everyone should read The Iliad and The Odyssey at least once in their life.
One of my favorite authors, still sadly an obscure name, is Christy Nicholas. I had the good fortune to review a few of her books forDiscovering Diamonds. A few of her other books are also reviewed on DDRevs by my fellow reviewers which I didn’t read, but they are worth checking out for sure. One reason I enjoy Nicholas’s books so much is because she imbues them with so much feminine power. They are accurate within the scope of their timeframe, yet the women in each one are strong, bold, as feminist as possible. She pushes the boundaries of creating feminist characters and isn’t shy to use mythical characters, such as The Morrigan, to be more feminist. I fucking love it.
Below are a couple reviews, submitted as a guest post by Cathy Smith, who is also a reviewer at DDRevs. My own reviews of Nicholas’s books that have already been posted can be found both onDDRevsas well as on this blog.
Legacy of Hunger, book one of Christy Nicholas’s Druid’s Brooch Series, takes readers on an unforgettable quest from the shores of 1846 America to the distressed Irish countryside of Valentina McDowell’s ancestors. Driven by her mother’s legends and a desire to find an old family brooch, Valentina finds early on in her quest that she will discover friendship and come to realize the betrayal of enemies. She will see beauty and face tragedy. Guided by her mystical visions, Valentina’s journey is filled with joy and sorrow as each step of the quest prepares her for what awaits at the end.
Nicholas does an excellent job developing the story by painting detailed descriptions of the characters themselves, their past, and their present. Readers also feel the intensity of the characters’ personalities through the descriptive images of the ship’s voyage across the sea and of the Irish villages and countryside. Nicholas stays true to the history of 19th century Ireland. She uses this history, as well as the legends from the ancients, to provide readers with a real-world sense of Valentina’s adventures.
As I experienced Valentina’s journey to find the answers to the mysteries that haunted her from childhood, I thought of a time when my own father told me the story of his grandmother who came to America as an indentured servant during the An Gorta Mór – The Great Hunger. He told the story of how she met my great-grandfather while working off her servitude in a well-known Colorado bar. As I read Nicholas’ story, I realized that the legacy of hunger is a legacy that affects generations of people even into the 21st century.
Although Nicholas provides closure in the last chapter and epilogue, the happily or not so happily ever after resolutions of the individual character stories left me with deeper questions. It is my hope to see future novels that develop some of these characters’ journeys.
Legacy of Hunger is the story of the Irish people who suffered during the Great Hunger. It is the story of how Valentina McDowell journeys to find her strength, courage, and inner soul by overcoming the challenges to complete a quest that reveals her destiny.
Other books by Christy Nicholas:
Nicholas also has a standalone novel that I reviewed for DDRevs as well, Call of the Morrigu. The full review is here, as I forgot to post it to my own blog before now.
In late 1700s Ireland, rebellion against oppressive English rule was on the rise. In one quiet corner, however, society was still relatively peaceful. Theodosia “Dosey” Latimer lives with her grandfather in their family’s country estate of Strokestown. On the property, they discover a mysterious cave filled with ancient carvings and decide to try to excavate it. In the process, they accidentally awaken The Morrigan. Yes, that Morrigan. The mythical Irish war goddess. Now it is up to Dosey and her grandfather to teach Morrigan how to behave like a proper 18th century lady – and keep her out of the rebellion coming their way.
This was, simply put, a remarkably fun read. Author Christy Nicholas weaves in mythology and history smoothly throughout the narrative. Readers are given glimpses of Celtic myth alongside bits of information about the 1798 Irish Rebellion, led by Wolfe Tone. Parts of the story were surprisingly funny as well. Morrigan learning 18th century table manners is exactly what you would hope for.
The parts of the book that I most appreciated were its many feminist elements. Feminism was a necessary component of the plot for Dosey to be able to grow as a character and a woman. She also was a product of her time and none of her actions were unbelievable or out of place in the story. However, it’s hard for me not to cheer and fall in love with characters who make comments like “I do not understand the shame your society has for the body. It is a glorious thing, full of life and pleasure” or “You are power. You are woman. All woman are power.” Here, Morrigan was reflecting what was understood to be the typical pre-Christian culture of ancient Ireland (or at least the author’s interpretation of it), but it remains highly relevant in today’s society where women’s rights are still challenged and threatened by the patriarchy. Having a mythical character speak the words makes them no less relevant, and allows a certain safe distance from which we can examine our modern morals and values. I loved it.
My only criticism is that I felt some of the secondary characters could have been developed a little more. I wanted to get to know Nan better, and Cillian and Marcus. They were fine, but they felt like they were placeholders or extras just playing a necessary part in a formula. However, they were not totally flat or one-dimensional, either, and they served their respective purposes well enough.
Overall, I loved this book and look forward to reading more by this author. Strongly recommended for anyone who is interested in Irish mythology, history, or the influence of women on either subject.