When a late-medieval or Tudor historian is asked to compare and contrast a historical novel with a scholarly book that both take as their subject Thomas Cromwell, and the latter work has been written by the late G R Elton, the inevitable disclaimer becomes compulsory unless that historian has spent several decades inhabiting a historiographically-isolated cave during the rise and fall of t
‘I am what you would call a Fallen Woman, but I assure you I did not fall – I was pushed’ (Faber, p. 336).
Any historian analysing a historical novel is bound to appear a little pedantic, taking a spade to the proverbial soufflé, but here goes.
Sir Walter Scott, masquerading both as ‘The Author’, as well as his pompous alter-ego, the historian ‘Dr Jonas Dryasdust’, inserted the following dialogue into the beginning of his historical novel of the Restoration period, Peveril of the Peak (1823):
The challenge in writing a comparative review of Kate Lowe’s fine study of early modern Italian convents Nuns’ Chronicles and Convent Culture with Sarah Dunant’s gripping novel Sacred Hearts is to find ways of making sense of the experience of reading both beyond stating the obvious.
Penelope Fitzgerald’s historical novel The Beginning of Spring, set in Moscow in 1913 but written at the height of perestroika, conveys an ambivalence familiar to those of us who spent time there during the Gorbachev years.
In Western imaginations, the Chinese Cultural Revolution (1966–76) – in which one of the world’s oldest, most elaborate cultures began destroying itself, in which a successful, disciplined political organisation tore its own heart out, and in which colleagues and classmates turned murderously on each other – stands among the landmarks of the recent Chinese past.