Many thanks are owed also to the community of artisans, gunsmiths, and reenactors who have revolutionized our understanding of the early development of gunpowder weapons in recent years through their use of original materials and medieval technology. Their work continues to correct the erroneous but durable assumption that medieval handgonnes were primarily instruments of “shock and awe,” used to sow terror rather than gain military advantage. Working from the very few early descriptions and illustrations of these weapons, they have challenged historians’ understanding of the velocity and lethality of projectiles, the potential swiftness of load speeds between firings, the comparative strengths of smithing and founding, the accuracy of targeting, and other technological dimensions that the scant historical documentation alone cannot reveal. The Swiss craftsman Ulrich Bletscher, for example, has shown that it is possible to penetrate steel plate thicker than most surviving medieval armor with a ball shot from a forged iron gun using homemade powder. Multiple experiments with replicas of the Tannenberg handgonne (which is cast of bronze and likely shot iron or lead balls) have similarly confirmed the relative power of such gunpowder weapons. I have seen the hands-on work of several of these artisans and spoken, Skyped, or e-mailed with a number of others (including a craftsman known to me only as “Teleoceras”), and I am deeply grateful for their time and care in answering my many questions despite their suspicion of my motives.
The tenth year of King Richard II’s reign began in June 1386, and the autumn that followed marked the first great crisis of his kingship. Before and during the Wonderful Parliament of 1386, Richard and his closest advisers confronted fierce opposition from the appellant lords over war levies, the ethical conduct of the crown, and the king’s blatant favoritism toward certain of his cronies. The most exhaustive treatment of this specific moment in the history of royal Parliamentary relations is John S. Roskell’s The Impeachment of Michael de la Pole, which I have relied upon (along with the Rolls of Parliament) for a number of details in fleshing out the political moment. King Richard’s emerging tyranny in these years was evident in any number of ways, including his self-regard; during this part of his reign Richard began insisting on being addressed as “Your Majesty,” as the historian Nigel Saul has shown (thus correcting those who still insist that this form of royal address originated in the Tudor period). Meanwhile the country was facing the threat of a massive invasion from Sluys involving thousands of French and Burgundian ships, a threat ably documented in the third volume of Jonathan Sumption’s definitive history of the Hundred Years War. If the medieval chroniclers are to be believed, Londoners reacted to the threat of invasion with widespread horror and hard work, clearing out the areas immediately inside and outside the walls and visiting untold destruction on the built perimeter of the city in an effort to prepare it for defense.
The Hundred Years War was characterized on all sides by numerous incidents of wanton and large-scale violence against civilian populations. The account of the massacre at Desurennes imagined in The Invention of Fire, though fictional, has been influenced in part by a 1382 incident at the Bridge at Comines recounted by the chronicler Froissart. David Green’s revisionist account The Hundred Years War: A People’s History emphasizes the brutality of the era’s military cultures, suggesting that there would have been nothing unusual in this period about a massacre of dissident civilians for military purposes, whether strategic or technological. Sir John Hawkwood, the expatriate English mercenary, had recently led the butchery of nearly the entire population of the town of Cesena in the Romagna, an incident in which thousands of women and children met their deaths by sword over a three-day period.
Readers are enouraged to consult the historical note at the end of A Burnable Book to learn of the other kinds of resources I have drawn upon for the details of daily life, language, and so on. For The Invention of Fire I have turned to a variety of additional primary and secondary sources, such as Marcellus Laroon’s engravings and drawings of London’s criers and hawkers, which provided several of the street cries imagined in the city markets in London and York (one irresistible example of which I also anachronistically lifted from a play by Ben Jonson); Sheila Sweetinburgh’s volume Later Medieval Kent, 1220–1540, which helped me plot the incidents and locations in that shire; Geoffrey Parnell’s extensive work on the Tower of London, including its menagerie, armory, stables, and medieval fabric and geography; and recent work on the office of the medieval coroner, especially Sara M. Butler’s extraordinary new book Forensic Medicine and Death Investigation in Medieval England, which is likely to inspire a new generation of historical crime novelists in the years ahead. As R. F. Hunnisett once put it, in medieval England “coroners almost invariably refused to hold inquests on dead bodies until they had been bribed to do so”—hyperbole, perhaps, but welcome hyperbole for the novelist. On a lighter note, I am indebted to Richard Newhauser for an insightful chat over lunch in Charlottesville about John Gower’s “sweet tooth”—a phrase Gower invented, it turns out, and that gave me a reflective sentence in chapter one. The character of Hawisia Stone was inspired by Johanna Hill, inheritor and operator of a foundry in the parish of St. Botolph following her husband’s death. The known details of her biography, as recovered by Caroline Barron in a chapter of Medieval London Widows, are remarkable testimony to the variety of economic and social experiences characterizing women’s lives in the late medieval city.
The story told here has also led me to explore the official role of Geoffrey Chaucer in the system of shire justice in Kent. This stretch of the poet’s life has often been imagined as a period of rural semi-retirement, as Chaucer left London to take up residence in Greenwich. Yet the office of justice of the peace, which Chaucer had recently assumed, entailed any number of duties relating to the administration of law: settling disputes, taking indictments, even assisting in the apprehension of violent criminals and their conveyance to gaol. With all due respect to his skeptical friend Gower, the notion of Geoffrey Chaucer’s aiding in a murder investigation and pursuing escaped fugitives during these years is more plausible than fanciful.
In addition to those named above, numerous friends and colleagues have given aid and advice in various forms. Many thanks are owed to a number of fellow writers I have had the pleasure of getting to know (or know better) over the last several years, especially Jane Alison, Nancy Bilyeau, Geraldine Brooks, John Casey, Jenny Davidson, Sarah J. Henry, Katherine Howe, Hugh Howey, Mary Beth Keane, David Liss, Jennifer McMahon, Jenny Milchman, Caroline Preston, Virginia Pye, David Robbins, Leslie Silbert, Art Taylor, Rupert Thomson, Christopher Tilghman, and Simon Toyne. I have benefited greatly from their generous willingness to share their time, wisdom, and experience. Others have provided support with invitations for readings, panels, and various events that have allowed me to introduce my work to new and diverse audiences. Here thanks are owed to E. A. Aymer, Katie Brokaw, Scott Bruce, Holly Crocker, Barbara Ferrara, Andrea Grossman, Jonathan Hsy, Matthew Irvin, Eric Jager, Wan-Chuan Kao, Michael Kindness, Ann Kingman, Lana Krumwiede, Rosemarie McGerr, Michael McKeon, Ingrid Nelson, Myra Seaman, Wayne Terwilliger, and Bob Yeager.
My students at the University of Virginia teach me time and again the power of historical fiction in shaping our comprehension of and empathy with the past and its human actors. I learned an enormous amount in this regard from the thousands of students around the world enrolled in “Plagues, Witches, and War: The Worlds of Historical Fiction,” a massive open online course I taught in the autumn of 2013; I thank them deeply for their attention and enthusiasm. Once again I am grateful to the editorial staffs at William Morrow (New York) and HarperCollins (London). Rachel Kahan and Julia Wisdom are brilliant and tireless editors who have championed my writing while helping me understand the craft and profession of commercial fiction. Many thanks as well to Trish Daly, Jaime Frost, Tavia Kowalchuk, Ashley Marudas, Rachel Meyers, Anne O’Brien, Aja Pollock, Kelly Rudolph, and Kate Stephenson. Only my extraordinary agent, Helen Heller, knows t
he depth and extent of her contributions to this novel.
As always, my family has provided all the support, love, and humor a writer could want. Anna Brickhouse remains my best reader and critic; my mother and mother-in-law both read the manuscript with their typical precision and care; and my father has always been a source of unconditional kindness and inspiring capability. The Invention of Fire is dedicated to Elizabeth and Robert Brickhouse, loving parents-in-law (and, to others, loving parents, siblings, grandparents, friends) whose values, warmth, wisdom, and courage I have come to treasure over many years.
About the Author
Photo by Laura Merricks
BRUCE HOLSINGER is the author of the first John Gower novel, A Burnable Book, and an award-winning scholar of the medieval period who teaches at the University of Virginia. He is a Guggenheim Fellow and a recipient of research fellowships from the American Council of Learned Societies and the National Endowment for the Humanities.
Discover great authors, exclusive offers, and more at hc.com.
Also by Bruce Holsinger
A Burnable Book
Credits
Cover photograph @ by misha/123RF.com
Title page photograph © by Roman Sigaev/Shutterstock, Inc.
Map by Nick Springer, copyright © 2013 by Springer Cartographics LLC.
Copyright
This book is a work of fiction. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. All other characters, and all incidents and dialogue, are drawn from the author’s imagination and are not to be construed as real.
THE INVENTION OF FIRE. Copyright © 2015 by Bruce Holsinger. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.
FIRST EDITION
EPub Edition April 2015 ISBN 9780062356475
ISBN 978-0-06-235645-1
15 16 17 18 19 OV/RRD 10 9 8 7 6 5 4 3 2 1
About the Publisher
Australia
HarperCollins Publishers Australia Pty. Ltd.
Level 13, 201 Elizabeth Street
Sydney, NSW 2000, Australia
www.harpercollins.com.au
Canada
HarperCollins Canada
2 Bloor Street East - 20th Floor
Toronto, ON M4W 1A8, Canada
www.harpercollins.ca
New Zealand
HarperCollins Publishers New Zealand
Unit D1 63 Apollo Drive
Rosedale 0632
Auckland, New Zealand
www.harpercollins.co.nz
United Kingdom
HarperCollins Publishers Ltd.
1 London Bridge Street
London SE1 9GF, UK
www.harpercollins.co.uk
United States
HarperCollins Publishers Inc.
195 Broadway
New York, NY 10007
www.harpercollins.com
The Invention of Fire Page 42