To say I’m happy about this review from Diana Gabaldon is like saying that “War and Peace” is about fighting or that a blue whale is quite big. I’m beaming. Thank you so much, Diana! (this comes from my US publishers’ website at Poisoned Pen Press.)
The following essay is by New York Times best-selling author of the Outlander series, Diana Gabaldon.
This is one of the most entertaining, elegant and deeply emotional books I’ve read in years. (I’m tempted just to write “EEEEEEEEE!” to sum up my response to it, but that seems inadequate, if heartfelt.)
I’ve loved the Robert Carey series since the first book (A Famine of Horses), and every one thereafter has had all the elements that made the first so engaging: a fascinating look at little-known parts of Elizabethan history, wonderfully immersive details, hilarious dialogue, adventurous situations, and—above all—characters drawn with a deftness that catches the essence of a soul in a few words.
Sir Robert is the center of it all, of course, but the story certainly doesn’t stop with him. He’s surrounded by a constantly evolving (and revolving) constellation of courtiers, reivers, Borderers (often synonymous with reivers), Sergeant Dodd (his surly, dour, stubborn, honorable sidekick), scholars, assassins, spies, royalty, and (to be sure) women. One woman in particular; the unattainable Elizabeth Widdrington, unhappily married to a cruel older husband and much too honorable to take Robert Carey as her lover, much as she wants to.
This one’s not an ordinary historical novel
All of this would be more than enough for your ordinary historical novel…but this one’s not an ordinary historical novel: it’s an orrery—you’ve doubtless seen one, even if you didn’t know what it’s called—it’s a mechanical model of the solar system. And those you’ve seen have undoubtedly been designed to fit the Copernican theory of astronomy: to wit, with the sun in the center and the various planets orbiting it at varying distances. But it was not always thus…
Back in Sir Robert’s day—i.e., the late sixteenth century—there were competing views of the stars and their movements, and scholars who espoused the Ptolemaic system, in which the planets and the Sun all (naturally) circled the Earth, were more popular than the upstart (and obviously deluded) Copernicans. Only in a P.F. Chisholm novel will you have a delayed-fuse plot that centers (you should pardon the expression) on a formal scientific disputation regarding the position of the Sun in the solar system, held at the Royal Court of Scotland, between the King and an itinerant Jewish healer.
Not that there aren’t plenty of other plots orbiting that one: religious persecution, murder in several shades, rejected lovers of all stripes and persuasions, and the head-butting politics of the constantly feuding Border surnames.
Passing without touching
The novel is an orrery, though; the underlying structure of the book reflects all the intricacies with which people orbit each other, mostly passing without touching, turning a light face or a dark as they travel through their personal space, their orbits influenced by love, jealousy, ambition, greed, insecurity, fear, revenge, longing, frustration, friendship and its loss—and the soul-wrenching effects of being responsible for other people.
And at the center of it all is a tenderly human compassion that sheds its light through this system of moving bodies, for everyone from the King of Scotland to Sergeant Dodd’s horse.
I finished reading the book, and immediately read it again. Been a long time since that’s happened.
— Diana Gabaldon (2017)
To learn more, read an excerpt, or to purchase, visit: A Clash of Spheres.
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