London 1385, and at Moorfields outside the
walls of the medieval city a young woman of quality is pursued, caught and
brutalised, the attacker demanding “doovray leebro” after each beating. The
book he seeks is not given up; the woman dies without revealing what she knows
but not before calling out a cryptic couplet.
Nearby, hidden and paralysed with fear,
another woman of lower rank (it is hard to get lower) listens to the words,
intended she feels for her, as she clutches to her chest a cloth-wrapped parcel
thrust at her by the fleeing gentlewoman moments earlier.
Though the book disappears into London’s
seedier quarter its rumoured existence, loss and contents preoccupy the rich
and powerful in King Richard II’s court – nobles, lawyers and the clergy all
want to get their hands on it. Why? – It is a book of prophecies that foretell
the death of thirteen kings of England starting with William the Conqueror.
Twelve are already deceased (in the mode foretold) leaving Richard as the
thirteenth, alive for now but not for long according to the book.
So is it a prophecy or a plot; and if a plot
would not such forewarning foil it? However in the paranoid world of fourteenth
century politics there is what the nineteenth century would term a catch 22: to
admit to knowledge of the plot is proof of involvement and so treasonable. So
although everyone but the king knows of the book no-one dare tell him.
It falls to John Gower, poet, dealer in confidential
information, and general fixer to track down and recover the toxic volume,
helped or hindered by his friend (and better poet) the renowned Geoffrey
Chaucer. But the Moorfields murderer is also on the trail and as the book
passes from hand to hand mayhem and violence follow.
Holsinger populates his novel with a mixture
of historic and fictional characters and furnishes it with authentic-seeming
details of medieval city life – from high court politics to the sex trade in
the stews. His use of (possibly fictitious) vernacular, liberally in the latter
context, cleverly obviates the need to use the more familiar (and offensive to
some) nouns and verbs.
The novel rattles along for 450 pages
alternating between Gower’s first person narrative and third person accounts
covering the other characters’ movements. In addition to history and murder a
subtler theme of deception is woven into the work giving it a flavour of a John
le Carre thriller. The ending has a twist or two and ties up all loose ends
satisfactorily.
It is a good enough book not to burn,
particularly if historical fiction is your thing.