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Fleas

We’ve been having a truly awful heatwave here in Northern California. My house is overrun with ants and I’ve been hearing half the people I know complain about sudden outbreaks of fleas (no outbreak here *knock on wood*), but it got me thinking: what did people do when there was no Advantage, no Capstar, to turn to? My books are full of dogs, and my work in progress has a housekeeper squaring off with a new wife and a puppy with fleas is a perfect fight!

Well, there is actually advice on that in multiple period sources! Huzzah!!! Research! Here’s a bit of advice from a little period magazine I own (from 1819) The Complete Dog-Fancier’s Companion, Describing the Nature, Habits, Properties, etc. of Sporting, Fancy, and Other Dogs; with Directions of choosing the genuine breed, Instructions for rearing, manner of training for water and the field, Disorders they are generally subject to, Methods of cure etc. etc. (Interspersed with many curious and entertaining anecdotes of the useful and faithful animals).

Dog advice 2

 

 

Not sure I want to rub my dog in goose-grease or olive oil, but I imagine it would do the trick of suffocating the fleas. And the cumin and hellebore might work, too. I know the organic spray I have is made of mint and cloves, which a Georgian person would also be able to easily obtain (BTW, you can download a scan of this book for your personal collection HERE).

Yet more advice from Canine Pathology, 1817.

And from A Treatise on Greyhounds (1816):

From A New Present for a Servant Maid (1771):

From The Housewifes Companion (1674)

I’m hoping a few domestic battles will be fun to write and I’m having a good time looking into just what people might have done to combat the “nimble gentry” in the Georgian era.

 

What a Character!

As I begin the series that has been the subject of the occasional post here on Risky Regencies, I’ve been thinking about my hero and heroine, John and Mimi, and what makes them the unique and intriguing people they are. I’ve got it now but I won’t spoil the fun by talking about it when you can read about them before too long.

In the process of working it out I gave some thought to my past characters and what they have in common.

Anyone who knows me can guess that the key element they all share is “honor at the core of their being.” Though I could argue that Mia in COURTESAN’S KISS was right on the edge of honorable. She was just a bit too manipulative and selfish. Hopefully her loving relationship with her half-sister and her difficult youth made her behavior understandable and acceptable. And, in the end, of course, love conquers all.

At the other extreme of honor at the core has to be Michael Garret, the continuing character (not the hero) in the series I am writing now and the hero of LOVER’S KISS. thDR28GQLZMichael abandoned his religious training and joined the army rather than accept a living that would have made him a puppet. Even as a spy (see TRAITOR’S KISS) he knew the cost of his work and helped his colleagues whenever the need arose, even when it threatened his own safety. He is settled now, responding fully to his call as a vicar (though an unconventional one) and finds great joy in the world around him. (And yes, Michael looks a lot like Liam Neeson.)

But there is one other element that my characters share and it’s what makes them unique in their world. Almost all of them defy the social norm in some way. Michael as an unconventional vicar. Mia, in her extreme, way insisting that she would become a courtesan.

Then there is Lady Olivia, the daughter of a duke, who loves the kitchen, thPBQIXJKAespecially baking. Her brother, Lord David, decides to go into business despite the fact that gentlemen did not. The list goes on and includes either the hero or heroine and sometimes both in my “Kiss series” (Check out my website for titles and details: MaryBlayney.com)

So now what I am wondering is what element your favorite characters share whether you be reader or writer? I bet I know what Diane Gaston will say.

Romance, Feminism, and Academia

I’ve been thinking a lot about Gail’s post last week “About Those Dukes”, and also about this this article in the Smithsonian Magazine, “Why Can’t Romance Novels Get Any Love?”

The article talks about Germaine Greer’s “feminist call to arms”, The Female Eunuch (1970) in which:

“Greer was skewering the authors of romance novels, and the readers who made them bestsellers, suggesting they were submitting to nothing short of serfdom to their heaving, rippling fictional heroes: alpha males with giant pectorals, important lives, patriarchal views and very little interest in love…until just the right petite, witty heroine comes along.”

I love the idea that literary scholars like Sarah Frantz Lyons, who started the International Association for the Study of Popular Romance, want romance to get the same attention from scholars as other popular genres such as mystery and science fiction.

“We’ve been talking about this for 30 years: since the 1980s at least, it’s been about empowerment versus oppression. Is this narrative empowering or oppressive to women?” she says. “We need new approaches to romance fiction.”

temptationIt’s the sort of thing Jennifer Crusie has been saying, probably even before this 1998 article “Defeating the Critics: What We Can Do About the Anti-Romance Bias”.

“But romance fiction insists that women be front and center, demonstrating over and over again that women can solve their own problems. Reading that kind of narrative empowers women and therefore attacks the basic assumption of patriarchy.”

I love this statement, and this is part of why I write romance. (I hope Crusie’s smart and sexy books are among those that will be studied.)

I’ve also read romance novels that tapped into fantasies that may or may not work with the idea of women solving their own problems.

I suspect part of the appeal of Duke and billionaire stories is the fantasy of never having to work a boring job or worry about money again. For personal reasons, it’s not a fantasy that appeals to me, but I can understand it. When I’ve been too busy taking care of others to care for myself, I daydream about tropical vacations where all I have to do is snorkel with pretty fish, get massages, and sip umbrella drinks. But I don’t really need a life of luxury. I need to rearrange my life so there’s more time for self-care on a regular basis. I’m working on that, but the vacation fantasies help me get through bad days. Likewise, a woman whose job is unpleasant or unrewarding, or who is struggling to make ends meet, has every right to enjoy an escapist story, even though she may also be actively trying to improve her situation.

I feel the same way about domineering, alpha heroes and “forced seduction” stories. Personally, I find some heroes cross the line from “alpha” to “abuser” and especially if I don’t see a real transformation, the story isn’t going to work for me. It is very, very important to me to see that at least by the end, the hero treats the heroine as a real person and an equal, neither domineering nor putting her on a pedestal. But each reader has the right to decide for herself which stories work for her. Perhaps some women can’t distinguish between the fantasy of being conquered and how healthy relationships work, but that’s no reason that others should not enjoy those books.

I do not care for censorship. What I do believe in is dialogue. Dialogue is good. Criticism is good. I’m thinking about all the conversation about Fifty Shades of Grey. I didn’t participate because I haven’t read it, but from the articles and blogs I skimmed, I could see there were intelligent points made. I believe we should all discuss, criticize, even argue about the books if we want, but judging people personally for their reading choices is just an exercise in ego.

Which gets me back to the academic study of the romance genre. Scholars will likely find many stories featuring strong heroines and the development of healthy relationships.

They’ll also likely read some of those old contemporaries I used to find around the house as a child, where the nurse always marries the doctor and the secretary gets the boss. (And in those old stories there were never any female doctors or bosses.)

purityspassionScholars may also include books like the one in this review on the Smart Bitches/Trashy Books site: Purity’s Passion. A quote, just to give you an idea:

We’re at the midpoint of the book, and let us tot it up: Purity has had consensual sex twice, been raped by six men (two of them multiple times), and nearly raped by a seventh.

So I don’t think a broad study of the romance will lift the genre as a whole to respectability. That’s not important to me. Although some romance novels are complex and beautifully written, not everything needs to be literary. Although I prefer to read and strive to write romances that end in what I think are healthy relationships, I do not deny others the right to read and write what speaks to them.

What I do hope is that the study results in some good discussion. Maybe some of those who haven’t yet tried a romance will do so, at least out of curiosity.

What do you think? Which romance authors or books do you think are most feminist, or most literary? Any favorite guilty pleasures you’d like to share?

Elena

The Bodleian Goes Digital and A Ship That Sank in 1744

I’m coming down to the line on finishing my novella for the upcoming anthology Christmas in Duke Street. Despite being madly writing, I have great sites I came across recently.

The Bodleian Library Goes Digital

When I was in grad school and researching a Regency era author named Eleanor Sleath, I was also frequently side-tracked into other fascinating areas of research that was quite handy for writing Regency Historical Romance. One of the most tantalizing things I came across was the Ephemera collection at Oxford’s Bodleian Library. At the time, a handful of images had been made available. It happened that their server was misconfigured and I was able to get to a directory listing of the ephemera collection and could see that they had playbills, and I was searching for performances of a certain play. I wanted to look at those playbills so badly …. A trip to the UK was out of the question. Well, the Bodleian has put this collection on line and searchable along with other collections: Digital Bodleian.

Here’s some playbills in the Ephemera collection: Playbills (None are the play I was looking for, alas.)

Here’s a ticket for a ball given by the Lord Mayor: ticket

Then there’s this letter to the Editor:

(Hopefully that lands you at the enlarged image. If not, click on the magnifying glass.)

To the Printer of the DIARY.
SIR,
My attention being roused by the claims of different countries to the Artist who produced the Exhibition of Edinburgh in the Haymarket, I went to see a work, which, from the contention, promises to have so much merit. I expected to have seen a model like that of Rome, or London; for transparent painting, such as I’ve seen before; but was agreeably surprised to see, I will venture to say, the greatest curiosity ever exhibited in painting, without any deception but that of the pencil, laying nature fairly open to my view, in a manner entirely new.
I ever wish to see the arts flourish; I hope this extraordinary effort of ingenuity will meet its reward: to doubt it would be an insult to publick taste.
Yours, &c.

LIBERALITY.

I had to (digitally) go to a library in Australia to find out what this letter was about. Here’s the link. I’m sorry, it’s a pdf and I sure hope the link works.

The letter first refers to an exhibition in the Haymarket of a panorama of Edinburgh by Irish painter Robert Barker. (Thus, the artist referred to is Robert Barker) This was something of a sensation. No one (according to these sources) had ever painted a panorama before, nor lit and placed it as Barker did. The panorama was 7.5 meters long and was exhibited in London in March of 1789. It stayed on view until 1790. Barker then prepared a panorama of London.

Indeed, this source claims that Barker’s friends coined the word “panorama” to describe this ability to walk around a painting as if one were actually at that location in the world. From this, Barker, and after his patent expired, other artists, produced panoramas of other cities and countries. This letter seems to be referring to a subsequent exhibition of other countries. Barker, having succeeded wildly, built an exhibition hall behind his home at 28 Castle Street Leiscester Square. A larger structure was built at another location, also in Leiscester Square by 1793. The Royal family visited and was much impressed. Panoramas were a popular entertainment through the 1850s.

Ships! The HMS Victory

The Independent has a fascinating article about why the HMS Victory sank. It sure wasn’t what I thought. This article is a great overview of the ship and its history, with a dose of climate, bureaucracy, and bad design thrown in.

The tragedy was not caused by dangerous rocks and the failure of the Alderney lighthouse keeper to keep the fire burning as believed at the time. The reasons for the Victory’s loss were almost certainly poor ship design, top-heavy weight, instability caused by heavy guns and possibly rotting timbers. victory1744.org

For more about this ship, there’s a website dedicated to it: victory1744.org. The photos of the wreck in-situ are stunning.

While I was putting together this post, one of my searches led to a site about pens, which I clicked on because pens! I’m addicted to fountain pens. When I was done, I went to the pen site and discovered that this company sells pens made with wood from the hull of the HMS Victory. Here’s the page about that. And here are the HMS Victory pens they sell.

Two Palaces

 

I can’t believe it is Monday already!!  I have a book due on the 15th, and as always on the last week of deadline I am a bit wild-eyed and frantic.  I wasn’t sure what to blog about today except “OMG deadline!” which very boring.  Then I found this post I did for RR way back in 2008, when my book A Sinful Alliance, set at the Greenwich Palace of Henry VIII with a French spy heroine, talking about Greenwich Palace vs. Fontainebleau.  And this WIP is set at–Fontainebleau!  A bit later than Henry VIII, of course, in 1561, with Mary Queen of Scots and Catherine de Medici.  I hope you enjoy another peek at both palaces.  Also–a little look at the cover art concept for “Murder at Fontainebleau”…

Greenwich was originally built in 1433 by Humphrey, Duke of Gloucester, a brother of Henry V. It was a convenient spot for a castle, 5 miles from London and Thames-side, and was popular with subsequent rulers, especially Henry VIII. His father, Henry VII, remodeled the place extensively between 1498-1504 (after dispatching the previous occupant, Dowager Queen Elizabeth, to a convent). The new design was after the trendy “Burgundian” model, with the facade refaced in red Burgundian brick. Though the royal apartments were still in the “donjon” style (i.e. stacked rooms atop rooms), there were no moats or fortifications. It was built around 3 courtyards, with the royal apartments overlooking the river and many fabulous gardens and mazes, fountains and lawns.

The Palace of Greenwich (Placentia)At the east side of the palace lay the chapel; to the west the privy kitchen. Next door was the church of he Observant Friars of St. Francis, built in 1482 and connected to the palace by a gallery. This was the favorite church of Katherine of Aragon, who wanted one day to be buried there (of course, that didn’t turn out quite as she planned…)

Though there are paintings and drawings of the exterior, not much is known of the interior decorations. The Great Hall was said to have roof timbers painted with yellow ochre, and the floors were wood, usually oak (some painted to look like marble). The ceilings were flat, with moulded fretwork and lavish gilding, embellished with badges and heraldic devices (often Katherine’s pomegranates and Henry’s roses). The furniture was probably typical of the era, carved dark wood chairs (often an X-frame design) and tables, benches and trunks. Wool or velvet rugs were on the floors of the royal apartments only, but they could also be found on tables, cupboards, and walls. Elaborate tiered buffets showed off gold and silver plate, and treasures like an gold salt cellar engraved with the initials “K and H” and enameled with red roses.

For the events in my book, the visit of the French delegation, two new structures were built at either end of the tiltyard, a grand banquet house, and a theater where there were masques and concerts.

Many important events of the era took place at Greenwich. Henry VIII was born there on June 28, 1491, and he married Katherine of Aragon there in May 1511. On February 8, 1516 Princess Mary was born there, followed on May 13 by the marriage of the king’s sister Mary, Dowager Queen of France, to Charles Brandon, Duke of Suffolk (a huge source of much gossip!). In 1527 came the French delegation which forms the center of my book. They were received with much pomp “and entertained after a more sumptuous manner than has ever been seen before” (according to one courtier). On September 7, 1533, Princess Elizabeth was also born there, followed nearly 3 years later by the arrest of her mother Anne Boleyn after a tournament. One of the last great events Greenwich saw in Henry’s reign was the wedding to Anne of Cleves in 1540.

It was a royal residence through the reign of Charles I (1625-49), but under the Commonwealth the state apartments were made into stables, and the palace decayed. In 1662, Charles II demolished most of the remains and built a new palace on the site (this later became the Royal Naval College), and landscaped Greenwich Park. The Tudor Great Hall survived until 1866, and the chapel (used for storage) until the late 19th century. Apart from the undercroft (built by James I in 1606) and one of Henry VIII’s reservoir buildings of 1515, nothing of the original survives.

Fon1Fontainebleau, on the other hand, can be seen in much the state Francois I left it in. On February 24, 1525 there was the battle of Pavia, the worst French defeat since Agincourt. Many nobles were dead, and king was the prisoner of the Holy Roman Emperor in Madrid. He was released in May, but only at the price of exchanging his sons (Dauphin Francois and Henri, duc d’Orleans) for his own freedom. In May 1526, Francois created the League of Cognac with Venice, Florence, the Papacy, the Sforzas of Milan, and Henry VIII to “ensure the security of Christendom and the establishment of a true and lasting peace.” (Ha!!) This led to the visit of the delegation in 1527, seeking a treaty of alliance with England and the betrothal of Princess Mary and the duc d’Orleans.

After his return from Madrid, Francois was not idle. Aside from plotting alliances, he started decorating. Having finished Chambord, he turned to Fontainebleau, which he loved for its 17,000 hectares of fine hunting land. All that remained of the original 12th century castle was a single tower. Francois built new ballrooms, galleries, and a chapel, and called in Italian artists like Fiorentino, Primaticcio, and Vignola to decorate them in lavish style (some of their work can still be seen in the frescoes of the Gallery of Francois I and the bedchamber of the king’s mistress the duchesse d’Etampes). The marble halls were filled with artworks, gold and silver ornaments, and fine tapestries. Unlike Greenwich, this palace was high and light, filled with sunlight that sparkled on the giltwork.

A few sources I used a lot with this book are:
Tournaments: Jousts, Chivalry, and Pageants in the Middle Ages, Richard Barber
Excavations of Greenwich Palace, 1970-1971, PW Dixon
Tudor Food and Pastimes, FG Emmison
The Six Wives of Henry VIII, Antonia Fraser (there are LOTS of books on this subject, of course, but Fraser’s is great!)
Prince of the Renaissance: The Life of Francis I, Desmond Seward
Food and Feast in Tudor England, Alison Sim (yes, I do like researching food!)
The Royal Palaces of Tudor England: Architecture and Court Life, 1460-1547, Simon Thurley
Henry VIII: The King and His Court, Alison Weir (full of wonderful info!)
Henry VIII and His Court, Neville Williams

MurderFontainbleau2