4.5 stars
I have to say, I am enraptured by this series; I must be as I don't use the word enraptured very often. Actually, I think this is the first time I've ever used that word. Huh. Weird. Anyway, with these books I may not always agree with the historical viewpoint Harrod-Eagles presents (at least not initially, not until I do further research and some critical thinking and realize, duh, I should've come to these conclusions myself years ago, knowing what I know about how history is written. But I digress). What was I saying? Oh, yes, I might not always agree with her viewpoint, but she involves me in these characters' lives to the point where I feel the same sort of disappointment when the younger generations fall away from Morland traditions, when they move away, marry poorly, choose different destinies than what their parents and grandparents had in mind for them. I become so wrapped up in the story that I feel the same sense of loss when the world the previous generations knew falls away and becomes lost; these on-paper people become real to me so that I cry when they lose babies, feel happy when they fall in love, become angry when they make stupid decisions and hurt their loved ones. Which is exactly why I gobble each book up because I just can't get enough.
This book is set during the reign of Elizabeth I, with a lot of focus on her struggles with Mary of Scotland and the Catholic threat to her throne. As with the previous two books, though, the history is not the main focus – it's simply a ribbon floating through the plot, a line to which stories can be tied, even used to propel the action or as a setting, but which always remains firmly in the background. And that might seem strange to say when the storylines of certain characters, Nanette and William, mainly, actually focus on their time at Court serving Queen Elizabeth and includes conversations between, say, Nanette and the Queen. But those scenes are actually in service to the story of the Morlands, to the drama revolving around that family and the problems encountered by them at any particular time. And the Morlands at the center of this book are Nanette Morland, the young girl embroiled in the last book's romantic drama, now middle-aged and reminiscent of her ancestor, Eleanor Courteney; John Morland, the son and heir of Paul Morland III; and Jan Chapham, Nanette's adopted son whose connection to the Morland blood and name leads to friction later on. Of course, there are quite a lot of other assorted Morlands to the story, as well as Butts, the other family inextricably tied to the family, but those are the three main satellites around whom the other Morland tales revolve. I will admit, toward the end of the book, the many names can get a bit overwhelming especially of the younger - second and third - generaions, to the point where every few pages or so I was flipping back to the family tree printed at the front of the book, for which I was extremely grateful.
The only issue I take with the book is the subplot involving the younger son of Paul III, William Morland. As a young boy he's called an angel-child by his governess for his fair looks, his gentle, biddable nature, and his pure treble voice. It's that voice that initially propels his story, taking him to a life in the church and thence to Court, where his looks dazzle all. When we finally meet William properly, hear his thoughts and pick up the thread of his story, he's at Court and a troupe of actors has blown in; William, who has always felt something was missing from his life, is completely bewitched by these men, especially their leader, Jack Fallow. Suddenly something clicks and, close to a personal epiphany, William runs off with this acting troupe; after searching for him, his family decides he must be dead and so writes him off as such. Except for Nanette. She sends her personal servant out as a private investigator and he eventually tracks William down in a tavern, dressed, made up, and behaving as a woman. And quite obviously the lover of Jack Fallow. Eventually, disillusioned with Jack (who by now has a new lover) and the life of an actor, William gets a job in a tavern, marries the daughter of the owner, has children, remarries when his wife dies in childbirth, marries again when his second wife dies in childbirth, leaves the tavern and returns to the acting troupe, all in a mental fugue as he tries to understand what his life's purpose is. It's only when he returns home that he has that ultimate epiphany and achieves his goal. My issue with all of this is, what is William? Initially I thought him to be Harrod-Eagles first gay character; I mean, it only took three books to get one, which seems rather unreal even taking into account the lowered life expectancy, famine, disease, infant mortality, and other methods of weeding out the population in medieval England. But then William marries and has kids without ever acknowledging his earlier homosexual behavior with Jack. It just seems like something of a cop-out. There were many effeminate young men who played women's roles on the Elizabethan stage who were raging heterosexuals; there were many who were also homo- and bisexual. Was gay life during that era dangerous? You bet your sweet bippy! But keeping William gay all the way through would've felt more authentic than the wishy-washy, everything-and-the-kitchen-sink manner in which he was portrayed. And if it was simply about William's need to find his raison d'etre, couldn't that have been done without him dabbling as a gay man? I don't know, it just made me scratch my head.
Other than that one little blip with William, I ate this book up, to the point where I had to slow myself down until I could finish when I was able to afford the next couple of books in the series. Thank you, eBay!