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Behind the Scenes with Henry the VIII’s Wives: “Fatal Throne”

Erudite scholarship. Conspicuous consumption and bawdy revels. The English Reformation and the following creation of the Church of England. Gluttony. Humanism. Decapitation. Music. The reign of Henry VIII is understood for a lot of contradictions. However it’s seemingly most recognized for the monarch’s therapy of his six wives.

Final month, Schwartz and Wade revealed the younger grownup novel Deadly Throne: The Wives of Henry VIII Inform All. The primary-person narrative supplies readers with the chance to listen to instantly from the ladies, together with their ideas on the king, and, at instances, each other.

Whereas the monarch performs an vital function within the novel, it’s his wives’ experiences and feelings that take heart stage. To extra authentically seize the a number of views of the six girls, the novel is co-authored, with Candace Fleming writing as Katharine of Aragon, Stephanie Hemphill as Anne Boleyn, Lisa Sandell as Jane Seymour, Jennifer Donnelly as Anna of Cleves, Linda Sue Park as Catherine Howard, and Deborah Hopkinson as Kateryn Parr, and M.T. Anderson writing as Henry VIII.

Right here, the authors who took on the personas of the queens focus on how they navigated sophisticated Tudor historical past individually and collectively whereas scripting this novel.

How did the ebook get began? What was the catalyst?

Candace Fleming, the coordinator of the method, shares, “[t]he impulse for this ebook started way back. For years, Deborah Hopkinson and I looked for a narrative we might write collectively, one thing with opposing viewpoints and particular person views. However we by no means landed on a good suggestion till…one night time Stephanie Hemphill and I have been speaking about our mutual obsession with Henry VIII’s wives when it struck me. The wives! That was it; the story Deborah and I had been trying to find. Would Steph need to be a part of us?  She did, and straightaway she nabbed the function of her favourite queen, Anne Boleyn.”

From there, the ebook started to take form, with Fleming and editor Anne Schwartz bringing the opposite authors on board.

Had been there any analysis sources that turned required studying? Any that you just collectively swore off due to historic inaccuracies or dated interpretations of the historic file?

“Our processes have been very particular person…deliberately so.  In any case, one of many issues that fascinated us most about this mission was the thought of conflicting views; the best way completely different folks interpret issues in another way,” notes Fleming.

In response to Hemphill, “I believe everybody learn The Six Wives of Henry VIII, by Alison Weir, however there was no required studying per se.” Fleming believes that Hopkinson was “the primary to seek out How To Be a Tudor.  Linda Sue wrote us about John Foxe and Tudor humanism. She had questions on his interpretation. I uncovered an excellent on-line article in regards to the royal jewellery and the way sure items had been recycled from queen to queen.  We positively helped one another. However we didn’t dictate what needed to be learn or investigated.”

Did you’ve gotten any conversations about your interpretations of Henry VIII and the way every particular person would characterize him? Are there any stark contrasts that you just needed to wrestle with?

“We purposefully did not have any group conversations about the way to deal with characterizations of Henry.  Once more, we have been actually after these distinctive views. We wished our readers to see him via every queen’s eyes. Had been there certain to be conflicting portrayals? Completely. That was our level,” presents Fleming.

Hemphill believes that “with out truly discussing it there was a consensus about how all of us noticed Henry, as a person who turned increasingly more of a tyrant the longer he reigned. I anxious at one level that as a result of Henry usually described an occasion very in another way than his queen, it would undermine the ladies’s tales. However I used to be shortly persuaded that the king’s inconsistencies spotlight how he noticed issues from his personal self-serving perspective, and readers would simply make that distinction. Totally different variations of the identical occasion are additionally usually recounted in Deadly Throne by two or extra queens, which we hoped would offer a extra nuanced have a look at issues.”

There have been quite a few tv reveals and flicks and standard novels about Henry VIII and no less than a few of his wives. How did you retain misconceptions, stereotypes, or standard representations out of your head when you wrote?

Showtime’s sequence The Tudors introduced Henry VIII and his household again into standard consciousness a decade in the past. Historic novels written for adults proceed to inform the story of Henry’s reign, together with these by British writers comparable to Hillary Mantel, Alison Weir, and Phillipa Gregory.  Chopping via standard misconceptions or representations may very well be tough for writers in search of to create recent characterizations of every queen.

Park notes that it wasn’t tough for her due to the duty she felt to Catherine Howard. “Once I was immersed within the writing, I had the sturdy feeling that she wished me to set the file straight: that she was not a senseless flirt or a spoiled brat as she has so usually been portrayed. She was trusting me to inform the emotional reality of her story: that of a younger lady put in an unattainable place by her household.”

For each Donnelly and Sandell, the favored representations made them extra conscious of their very own work. Donnelly reveals, “I allow them to rattle round in my head. They made me hungry to seek out the reality of my character – Anna of Cleves. To pursue her. To get her to come back and sit with me awhile and inform me her reality.” For Sandell, “I simply learn and browse as a lot as I might of historic file….” Hopkinson “had the good thing about a number of scholarly works on Kateryn Parr, together with a quantity of her collected letters and writings…which I returned to repeatedly.”

In distinction, the entire standard misconceptions about Anne Boleyn fueled Hemphill’s work. “I didn’t attempt to get these misconceptions out of my head, as a result of even in her personal time Anne was misunderstood. She was an outsider, usually thought of too French or too trendy or too witty or too outspoken. She usually felt very alone. So the stereotypes and misconceptions truly helped me to assemble Anne Boleyn as a fierce lady who confronted ups and downs, who felt at instances most beloved by Henry and at different instances confronted unfathomable discrimination and controversy. As a aspect observe, I like to see how actors interpret and voice historic figures. I can glimpse the place my understanding of an individual/character departs with or intersects with another person’s fictional illustration. And since movie and tv are a special media, I discover that the costumes and settings in movement usually inform my writing.

The place there any assets exterior of texts or written sources that impressed you?

For Donnelly, it was artwork. “There was Holbein. His portraits of Henry and his court docket are time machines–specific trains to the 16th century. In them, his topics reside and breathe. They let you know who they’re. Anna definitely did.”

Throughout the six years Linda Sue Park lived in England, she “visited the Tower of  London and Hampton Courtroom; took a ship journey up the Thames; toured nice manor homes like Chesworth. I loved revisiting these locations in my creativeness as I wrote Catherine’s chapter—though in fact, my boat journey was much more nice than the one she needed to take!”

“I wished to know [Katherine of Aragon] past her chronology…. to know her on a deeper, extra intimate stage,” notes Fleming. So I went to Spain. And that’s the place my Katharine got here into view. I visited the Alhambra in Granada, that fairy-tale citadel captured from the Moors by her dad and mom Isabella and Ferdinand. It was the final place she lived earlier than touring to England. What was it like to depart the open areas of the Alhambra with its fountains and citrus timber and heat sunny days for the chilly, grey castles of England?  How might the teenaged Katharine bear it?”

Did you end up taking an advocacy stance on your queen? Had been you hoping to seek out proof of her company, mind, or energy as you carried out your analysis?

From Fleming’s perspective, “[t]his mission was all about company.” And about Katharine of Aragon, the creator is obvious; “Certain, Katharine was restricted by her gender in what she might do.  The male-dominated world she lived in suppressed and exploited her. However she nonetheless fought again in ferocious methods. She wouldn’t be persuaded from her core beliefs – that she was the “one true queen” and that her “place got here from God” – regardless of immense pressures. And she or he saved Henry’s kingdom from the Scots whereas he was off taking part in warrior in France.  And she or he did it whereas pregnant. If that doesn’t show mind, energy and company I don’t know what does.” About Anne Boleyn, Hemphill asserts “I might not have created mind or energy that wasn’t there, however I did my greatest to find what I anticipated can be simply discovered with some research and what it appears each one among Henry’s queens possessed—company and energy and a narrative of her personal.”

In distinction, Sandell states, “I struggled at first to discover a approach into Jane Seymour’s character. She appears a lot a prop of varied forces, from her personal brothers to Thomas Cromwell to Henry himself. I very a lot wished to present her a richly developed emotional life, and in the long run, it was via her emotions—her loneliness and longing—that I used to be capable of give her the energy to go after what she wished: Henry.”

“I wished to convey to the reader the shrewdness, braveness and guts Anna possessed and deployed to be able to flip a harmful scenario to her benefit, notes Donnelly. “Anna of Cleves might have ended up banished, imprisoned, or beheaded. As a substitute, she ended up a rich, titled divorcee and outlived Henry and all his wives.”

“Her detractors have sometimes portrayed [Catherine Howard] as reckless, inconsiderate, heedless, however I consider her as a younger and charming and high-spirited. And in the end, her story is so very unhappy: Of all of the queens, she was in my view probably the most hapless sufferer.” “ I got here to have great sympathy for her,” feedback Park.

Hopkinson notes that in Parr’s case, it’s was “not tough to seek out historic proof for her mind and accomplishments. We see this in her correspondence with Henry’s kids, her personal two publications, and her letters to students of the day.”

As a author, did you wrestle with the stress between good historical past and good fiction, between historic actuality and the fictional actuality that you just have been creating?

In writing the preliminary chapter within the ebook, Fleming admits, “I struggled loads…. Possibly it was my nonfiction author roots, however I did not need to stray from the established historical past. So the primary draft was principally a chronology. It was not a narrative. It was additionally completely too lengthy. Anne Schwartz inspired me to take a couple of liberties with the story, discover new methods of telling. So did Jennifer Donnelly, who’s marvelous Anna of Cleves sees ghosts. I used to be struck by her imaginative telling…. So I began once more. I knew I wanted a tool to maneuver Katharine’s story into the longer term. What I imply is, I didn’t have the house to element all twenty years of her marriage to Henry, in addition to the years she was in England earlier than their wedding ceremony. What to do? I invented a prophetess, primarily based very loosely on the Maid of Kent (a real-life prophetess whom Henry had executed). She seems to Katharine and foretells of her future. On this approach, I might start and finish my story with Katharine’s heartbreaking discovery that Henry actually loves Anne Boleyn whereas nonetheless letting readers know that Katharine will go down combating.”

Hemphill believes “[t]his stress is the important wrestle for a author of historic fiction. I all the time begin out extraordinarily trustworthy to the historic file after which with nice editorial steering transfer in towards a narrative. Historic figures must change into sympathetic characters and the historical past must be formed to inform one thing that’s related now. So in a approach you can say I struggled with this stress at each second in my chapter.” In distinction, Sandell notes, “As a result of Jane Seymour didn’t go away behind any letters or a diary, we don’t have proof of her emotions or intentions. Which signifies that I had the nice good luck—and in addition the problem—of actually dreaming up most every part in Jane’s interior world, whereas working throughout the framework of reality, what’s on the historic file.”

For Donnelly, “the true wrestle is to verify I don’t embalm historical past. It has to reside and breathe, to change into a personality in its personal proper. It’s vital to take all these names, dates, locations, acts, writs, and proclamations and present readers why they matter, how they modified or saved or doomed the lives of flesh-and-blood folks.”

 

Dr. Mary Ann Cappiello is a Professor of Language and Literacy within the Graduate Faculty of Training at Lesley College, chairs the NCTE Orbis Pictus Award for Excellent Nonfiction committee, and blogs on The Classroom Bookshelf.

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