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Tag Archives: regicide

Avenging the King: Act of Oblivion

06 Monday Feb 2023

Posted by Novelhistorian in Reviews and Columns

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1660, book review, Charles I, Charles II, colonial America, Connecticut, divine will, English Civil War, fugitives, historical fiction, literary thriller, London, Massachusetts, regicide, revolutionaries, Robert Harris, thriller

Review: Act of Oblivion, by Robert Harris
Harper, 2022. 458 pp. $29

Two soldiers sail in 1660 from London to Boston under assumed names, because an act of Parliament has condemned them to death. Their crime? Former colonels in Oliver Cromwell’s revolutionary army—one is even the Great Protector’s cousin—signed the death warrant of the late king, Charles I.

Now, the regal son of the same name, restored to rule, seeks revenge on the fifty-nine who signed off on his father’s execution, despite a previous promise of amnesty. The Act of Oblivion has sealed the regicides’ fate.

The future Charles II in exile, painted in 1653 by Philippe de Champaigne (courtesy Cleveland Museum of Art via Wikimedia Commons; public domain)

Colonel Ned Whalley, Cromwell’s cousin, and his son-in-law, Colonel Will Goffe, hope to find sanctuary with their Puritan brethren in the New World. But they have learned to lie low, understanding that the Crown has spies everywhere, and that their families in England are likely being watched.

Ned and Will don’t know half the danger they’re in. A clerk to the Privy Council, Richard Nayler, has both royalist sentiment driving him to see all the regicides executed and a personal animosity against these two men in particular.

Nayler’s colleagues in the manhunt respect his unrelenting energy and passion for the task, though they think he’s obsessed. Even they are unnerved by his complete lack of scruple. He makes a formidable enemy to Ned and Will.

Act of Oblivion is first-rate Harris, which says something after An Officer and a Spy, Dictator, and The Second Testament. The current novel offers an elegant premise, unremitting tension (our old friend, “no—and furthermore,” thrives in these pages), and an enthralling grasp of history and the contemporary physical surroundings involved in the tale.

These include Cambridge, Massachusetts, and the wild tracts of Connecticut, re-created as they appeared in the 1660s, as well as shipboard life, Puritan meeting houses, and London—stinking, plague-ridden, and overcrowded:

The Thames flowed past sluggishly barely a hundred yards away. The tide was out, exposing black humps of oozing mud streaked with green weed. In the hot sunshine, it reeked of the sea and of decay. Figures were picking through it in the hope of finding something they could use or sell. Gulls wheeled and cried above their heads, occasionally swooping down, settling for an instant and lifting off again.

Rest assured that the characters have received excellent authorial care as well, not to say strokes of genius. The two men on the run differ greatly and have many angles and corners. The English Civil War was fought for religious causes, among others, and as high-ranking officers in Cromwell’s Puritan forces, you could expect the fugitives to think and speak of God’s will constantly.

Nevertheless, Ned has lived long enough to temper his fervor with doubt about his own character and actions. Late in the novel, he muses that “God was not to be pressed into service to suit the needs of men, however righteous they believed their cause to be . . . such presumption itself was a sin.” He also realizes that the revolutionary he once was may not have known everything, and that Cromwell was no saint but a complex figure tempted by power.

Will, however, lacks his father-in-law’s self-reflection. He tosses off biblical quotations that presumably explain and predict their circumstances, as if to demonstrate that God has decided everything, so they don’t need to alter their plans. Consequently, he can be pigheaded about the divine support he’s certain they possess, or the need to take precautions.

So there’s plenty of conflict between the fugitives, who must naturally spend much time in one another’s company. And their diverging viewpoints force the reader to reckon with what radical political action means, and whether you can ever be confident that you’re doing right. As Ned recalls the back story of his military service, you see that rightness seldom appeared in black and white, no matter what anyone thought at the time.

Then there’s Nayler, who has no use for prayer and knows only his loyalties, not the passages in Scripture that supposedly justify them. I like that contrast, which I think is inspired. He’s a terrific foil for the godly regicides, especially when his associates urge him to leave off, already—order him to, even, at points. But you know he won’t relent. And when I tell you Nayler is willing to play the long game, that’s an understatement.

Meanwhile, Harris casts his keen eye on colonial New England and, especially, the various clerics who’ve led their flocks into that wilderness, hoping to be left alone. Good luck. Naturally, Ned and Will find out how long an arm the Crown has, with the older man grasping the danger first, and Will having to restrain his impulse to attend public prayer meetings with a price on his head.

Act of Oblivion is marvelous.

Disclaimer: I obtained my reading copy of this book from the public library.

Trial by Fire: The Ashes of London

22 Monday May 2017

Posted by Novelhistorian in Reviews and Columns

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1666, Andrew Taylor, book review, Charles II, Great Fire of London, historical fiction, mystery fiction, Oliver Cromwell, regicide, seventeenth century, social class, superstition

Review: The Ashes of London, by Andrew Taylor
HarperCollins, 2016. 482 pp. $27

Given its numerical sequence, the year 1666 evokes portents of deviltry in many superstitious people who lived then, so the Great Fire that ravages London can only have a malign explanation. The cause isn’t hard to figure, for within living memory, Oliver Cromwell had a king’s head struck off, an act that still divides the country, and which many assume has invited divine vengeance.

But the heavens have no monopoly on violent expression, for the dead monarch’s spendthrift, wastrel son has regained his throne, fixated on eliminating anyone connected with his father’s execution. Suffice to say that English folk have myriad motives for killing or extorting one another, as if they believed the fire hasn’t gone far enough, and further destruction requires their assistance.

The Great Fire of London, by an unknown painter, presumed seventeenth century (courtesy Museum of London via Wikimedia Commons)

James Marwood, a young clerk of quick wit but poor prospects, must negotiate this political and social maelstrom against terrific odds. In the ashes of St. Paul’s Cathedral, a man’s body has been found, stabbed expertly in the neck, with his thumbs bound together. James must investigate while maintaining his clerkship to an irascible, suspicious newspaper publisher who hobnobs with the great. Naturally, the great take a keen interest in the murder case. Naturally too, their number keeps growing, their interests conflict, and they each take James aside to enlist his aid, bargains in which he has no choice. Not only must he please them to remain employed, what little income he has must support his ailing father, who served five years in prison for his association to the regicide faction, a fact no one has forgotten.

Should James disappoint any of his taskmasters, Marwood père will likely dangle from a rope, and James may follow after him. Further–and what a brilliant stroke–James dislikes his father, a difficult, selfish man who cares only for his apocalyptic visions, and who, in his half-demented state, is liable to wander off, preaching seditious monologues that will bring the king’s soldiers running. So James has absolutely no freedom in which to move; he’s caught between many fires, not just the one burning the city.

Meanwhile, there’s Catherine Lovett, a young woman whose father also belonged to the regicide faction and has spent years on the run. Catherine, or Cat, as she’s called, lives with her aunt, uncle, and lecherous cousin, but through a trusted servant, has been trying to find her father. Like James, she has mixed feelings about her paternal relative, but she’s miserable where she is, and he’s her only surviving family, so she hopes that by reuniting, life will improve for both of them.

Fat chance. As the novel begins, Cat and James cross paths as the flames engulf St. Paul’s, into which she tries to run, and from which he restrains her, receiving a nasty bite on the hand for his pains. But he gets off easy, compared with others who cross her, and though you could say they mostly deserve it, she’s not someone to trifle with. And you can bet that as James penetrates the mystery of the corpse at St. Paul’s, and of others to follow, their paths will converge again.

How that narrative unfolds is one of many pleasures The Ashes of London offers. Another is the prose, which conveys the place and time so completely that you feel you’re in it.

St. Paul’s had given up a number of its dead because of the Fire, for tombs had burst open in the heat and flagstones cracked apart. Some corpses were little more than skeletons. Others were clothed in dried flesh in various stages of decay. . . . The souvenir hunters had been at work, and there were bodies that had lost fingers, toes, hands or feet; one lacked a skull.

Taylor pays particular attention to social class, one way the novel feels alive. Cat, who grew up in a comfortable home and who flees her wealthy aunt and uncle’s house, must become a servant and go into hiding. For the first time, she walks alone in London and becomes a target for any man who cares to touch her or make lewd remarks, which underlines one difference between rich and poor. (That said, when Cat was with her aunt and uncle, she was betrothed to a titled suitor who seemed little better.) Similarly, James’s investigation would be complicated enough without having to bow and scrape before people who don’t condescend to notice his presence unless they wish to bully him–or, conversely, people of lower station than himself who act servile but may be untrustworthy. All this, Taylor handles deftly.

For all that, I wish he’d expunged the clichés that occasionally mar his narrative. (“Cat could not speak. Her happiness was sponged away. Fear made it hard to breathe.”) He’s a much better writer than that, and for the most part–the vastly greater part–it shows in The Ashes of London.

Disclaimer: I obtained my reading copy of this book from the public library.

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