The Wolves of Dumnonia Saga Box Set

by Peter Fox

  The major events in which Rathulf and Aneurin play a part are also real – a battle is noted in the Anglo-Saxon Chronicle between the Britons of Devon and Cornwall in 825AD for example – as are the details of the landscape, towns and settlements, day-to-day ways of life and living conditions, dress, behaviour, religious beliefs, customs and laws. Dumnonia existed as an independent British realm during Rathulf’s lifetime, and it is the events that are recorded in the contemporary Anglo-Saxon Chronicle that sparked the idea for the Wolves of Dumnonia series.

  There is one particular aspect of history, however, where I have applied a touch of licence: Sigvald’s claim that he journeyed to Konstantinoupolis to fetch Tariq. Whilst the Vikings did find their way to the fabled capital of the Eastern Roman Empire during Rathulf’s lifetime, it was not until slightly later – in the early 900’s – that Vikings had made it a regular holiday destination. Indeed the Vikings were so admired by the Byzantine emperors for their physical prowess that they were invited to join the Emperor’s elite personal protection force, known as the Varangian Guard. These were mostly Swedish Vikings (the ‘Rus’). Nevertheless, the Norsefolk of Rathulf’s time were avid traders and storytellers, so it is highly likely that Ra would have heard (undoubtedly inflated) tales of the splendour of the glittering eastern city. Less likely would be Sigvald’s journey from Sognefjorden in Norway all the way to Konstantinoupolis to procure Tariq; but that’s what makes it such a remarkable tale, isn’t it?

  A second act of licence is the Viking attack on the monastery of St Germanus in 808AD. It is highly likely that the monastery was attacked during the Viking Age (probably more than once), but as these same raids led to the destruction of monastic records, we can’t know for certain that such a raid took place in that particular year.

  It is also worth pointing out that Rathulf’s reaction to seeing the city of Escanceaster (Exeter) for the first time (this happens later in the series) may suggest that the city was larger and more imposing than it was in reality, or would certainly seem to us by modern day standards. But remember that Rathulf comes from a tiny farmstead in a very remote part of the world and he has never seen anything bigger than a village, nor has he ever seen buildings made entirely from dressed stone. So coming upon the bustling walled town of Escanceaster – capital of Dumnonia – would have been an amazing and overwhelming experience for this Norse country bumpkin.

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  A note on the dropping of the ‘r’ at the end of names and nouns: It is common in Old Norse texts for names and nouns to be appended with an ‘r’ (e.g. Sigvaldr, Rathulfr, Thorvaldsbyr, Ullr). This is all to do with Old Norse grammar. The Old Norse writers used this ‘r’ suffix to define the nominative case of a noun or, in plain English, the subject of the sentence. This distinguishes the subject from the direct object of the sentence, the latter being in the accusative case (i.e. no added ‘r’). Clear as mud? Here’s an example: “Rathulfr threw the bucket at Alrik. Alrikr then threw a mug back at Rathulf.” Obviously it would quickly become irritating and confusing for the reader if I were to follow the correct Norse grammatical rules, so in the interests of simplicity, I have chosen to dump the extra ‘r’ altogether.

  Acknowledgements

  The first book in the Wolves of Dumnonia saga was a very long time coming. The Shadow of Fenrir is the result of the hard work and support of many people without whom Aneurin and Rathulf’s story would never have been told. Following are just some of those who have made a contribution to the realisation of this story, whether directly or indirectly, and to whom I remain indebted. For those who I have missed, I sincerely apologise. Feel free to set me right and I promise to acknowledge you in the next book.

  As a work of historical fiction, the Shadow of Fenrir and indeed the whole Wolves of Dumnonia series is the result of many years’ research into the period we know as the Viking Age. In terms of my academic and research base, I owe much to the Departments of Prehistory and Geography at the Australian National University, and later, the Cultural Heritage Management Department at the University of Canberra (especially Professor Amar Galla, an inspirational teacher).

  Following my education, I was fortunate enough to join the curatorial team at the then fledgling National Museum of Australia, and I shared many wonderful times with Mark Henderson, David Kaus, Jenny Bell, Noel Keith and Marg Alexander; all of whom contributed to the broadening of my museological skills and interests.

  I must also thank Jim Spriggs, formerly Head of Conservation at the York Archaeological Trust, who was so generous with his time way back in 1991, showing a young and inexperienced historian around the Trust and the Jorvik Viking Centre, and introducing me to his pet ferrets. My subsequent thesis on the interpretation of Viking culture across Europe was a key milestone in my academic journey, and an important step towards the creation of the Wolves of Dumnonia.

  My friends have been there too, offering encouragement when I’ve lost confidence. You have given me joy, laughter and companionship. You’ve believed in me and have pulled me up from the ground on more than one occasion, dusted me off, and sent me on my way again. I especially wish to thank those people who have been my true believers; who have stuck by me and honestly believed I could do this (or at least lied and told me they did, which is almost as good), and for whom words can never give justice to my gratitude: Louise Biti; Sue Wood; Dion Klein; Derina McLaughlin; Faye and Mark Bradley; Perc and Row Roberts for not only supporting me with their excellent company, but also for looking after poor Jo through all this madness; Katie Saxby for her infectious smile, laughter, and excellent critical eye; Sango Mahanty-Phillipps, John (JR) Richardson, Simon Haberle, Gideon Culican and Gerry Fitzgerald – all dear friends from uni; and my oldest friend Matt Andrews and his wife Jenny Xomerang who have been such solid friends and supporters for longer than I care to admit (I’m getting too old) – I owe Matt and his family a particularly special thanks for helping me through my angst-ridden adolescence. Equally critical to my development as a sane and rounded adult are Brian Weir, Penny Andrews and Phil Brown, who have, over the very many years of our friendship supported my emotional wellbeing in so many ways, by encouraging me to be true to myself and not give up on my writing. Thank you.

  Finally, I would like to say a huge thank you to my dear friends Shawn and Sheenagh Callahan, who have been amazingly supportive of my dream to write ever since my first glimmerings in the early 1990’s. Shawn and I have been through everything together – countless highs and lows in friendship and in business – and as a reward we now share a vast array of precious stories and experiences of our many adventures. (And by the way, what Shawn doesn’t know about storytelling isn’t worth knowing. Check out www.anecdote.com)

  For my time in the UK, I am completely indebted to the entire Morgan family of High Dyonside, who put up (with) Jo and me at their lovely Lake District farmhouse for the first year we spent in Britain. It is entirely due to their wonderful kindness and hospitality that we decided to settle here. Thanks Jim for keeping me fit and active and dragging my sorry arse up and down all those crags and fells. Thanks Lil for providing us with a home, magnificent garden and being a second Mum to us. Thanks to the extended Morgan family: Steve and Liz, Ali and Paul, Andrew and Paul. Final thanks go to Graham and Eva, the original Morgan connection, for all your priceless support and friendship over these many years. Our Vegas wedding would not have been the same without you (and Elvis of course!).

  From the publishing world, people who have been a great help include: Steve Parish, Kate Lovett and Ann Wright for providing encouragement and honest advice; Averill Chase and Anouska Good (New Holland Publishing), who guided me through the production of my most ambitious travel guidebook; Kirsty Brooks of Driftwood Manuscripts for her help and advice on the early drafts; and finally Jane Adams – an accomplished author in her own right – whose insightful editorial review of the Wolves of Fenrir manuscript, accompanied by practical suggestions for improvement, have resulted in a much better boo
k. (My thanks to The Literary Consultancy for entrusting my manuscript to Jane.) Thanks also to my wonderful voice actor, Toby Gaffney, who, in addition to his fantastic rendition of the story in audiobook form, helpfully spotted a number of critical last-minute corrections. Helen Stirling was incredibly patient with me when I asked for numerous little tweaks on the fantastic maps she has drawn for me. And despite what they say, people do judge a book by its cover, so I daily praise the universe for sending me Carolina Fiandri of Circecorp Designs, who has created an amazing cover for this book and indeed the following covers the whole series.

  I’d also like to thank all the fab team at Elterwater Press (Jools, Erica, Kat, Patty, Lynne) for keeping the wheels turning smoothly in the background.

  Finally, I would like to thank my family, without whom I would never have been able to embark on this journey. My two brothers Jeff and Steve have continued to offer encouragement over the years, despite being increasingly dubious that I’d ever finish this story. My extended family too have been wonderful – thanks John, Barb, Bill, Janet, Adrian and Odette Cheal.

  My father, Allan, deserves special acknowledgment for passing on a few of his many creative talents to me; most particularly his love of storytelling and the gift of writing. He was always encouraging of my pursuits, and was fun to work with on our joint publishing projects. Thanks Dad.

  My mother, Bonnie, was completely instrumental in getting me to this point, and her continued belief in my dream was amazing. She demonstrated her love and support in so many ways, not least in the thoroughly practical areas of childcare and financial aid, which were invaluable. Thanks Mum. My only regret is that I took so bloody long to get this book to print that you and dad didn’t live long enough to see it in the flesh.

  Last but not least, is my wonderful wife and companion, Jo. She is as equally responsible for this tale as I am. As well as applying her excellent editing and continuity skills to the series, Jo has been consistent in her encouragement and support throughout. She has made more sacrifices than I can catalogue for the cause of my writing. Jo completes my circle and makes me whole. Rathulf and Aneurin thank you, for without you, they would never have been born.

  I have dedicated this book to my gorgeous son Ethan, who in many ways is an amalgam of Alrik and Rathulf’s best traits: tall, handsome, loyal, fair and honourable, and willing to give anything a try. You’d make a great Viking mate.

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  The second book in the Wolves of Dumnonia saga arrived far more swiftly than the first, and was closely followed by the third book, Wolf of Dumnonia. Like their preceding volume, A Thrall’s Crown and Wolf of Dumnonia are the result of the hard work and support of many people, without whom Aneurin and Rathulf’s story would never have been told. I have already thanked above many of those who have been pivotal in bringing this saga to life, but I would like to mention a few of the contributors in the more recent past who have been a great help and support to me.

  First are the super crew who keep me sane in my day job: Aaron, Ben, Dan, Graham, Helen, Jazz, Jeanette, John, Jules, Mark, Martin, Melody, Paul and the wider Arup team in Cumbria. You make me laugh and remind me how important friends are at work as well as home.

  Second are all the fab team at Strengthening Practice and Elterwater Press, who once again have helped make this book happen. Thanks especially to Katy, who picks up the pieces I leave behind in my chaotic wake. Thanks must also go to my wonderful voice actor, Toby Gaffney, for his fantastic rendition of the story in audiobook form. Carolina Fiandri of CirceCorp Designs has created another terrific cover to sit alongside those she has already produced for the series.

  I must also thank the versatile Steve Wharton, author, storyteller and musician extraordinaire, who has been bringing my otherwise dry talks about Viking Age Cumbria to life. Thank you, Steve, for your humour, wit and in-depth historical knowledge of the county I have chosen to make my home.

  Next and very importantly is my publicist Perrin Walker from One Little Bird, who has worked tirelessly to promote me and raise my profile following the publication of Shadow of Fenrir. He is a fellow of very great patience and understanding, chasing me down for appointments and information and prodding me to complete the numerous tasks that I promised but never quite managed to get done.

  I also owe a great deal to best-selling authors Paul Teague and Mark Dawson, who have coached me in the ways of self-publishing and promotion on the various eBook platforms. Without this essential guidance, I’d still be an unknown author with great stories that no one knew about. Thank you Gail Gravett of Cumbria Chamber of Commerce for introducing me to Paul.

  Thanks also to Matt Andrews, Louise Biti and Katy Curr, who read through the manuscripts and offered valuable feedback and corrections which resulted an improved story.

  Finally, I will again offer my deepest gratitude to my wife Jo, who remains my rock and my love, and who keeps me and my increasingly complex saga on track with her wise counsel and continuity checks. And, of course, there is Ethan, our wonderful, clever, funny son. I’d better drop in a mention for Lola too, the family’s whippet, who provides us with the unconditional love unique to dogs, i.e. provided we continue to offer her bowls of food and, ideally, a crackling fire with her comfy doggy cushion placed in prime position by the hearth.

  Copyright information

  These books are a work of fiction. Apart from a small number of historical persons and events, the majority of characters and incidents portrayed in these novels are the work of the author’s imagination, and as such any resemblance to actual persons, living or dead, is purely coincidental.

  THE SHADOW OF FENRIR

  (Book 1 of the Wolves of Dumnonia Series)

  ISBN 978-1-912689-02-6 (Kindle edition)

  First published in 2018 in hardback and Kindle editions

  A THRALL’S CROWN

  (Book 2 of the Wolves of Dumnonia Series)

  ISBN 978-1-912689-07-1 (Kindle edition)

  First published in 2020 on Kindle

  WOLF OF DUMNONIA

  (Book 3 of the Wolves of Dumnonia Series)

  ISBN 978-1-912689-12-5 (Kindle edition)

  First published in 2020 on Kindle

  THIS BOX SET EBOOK COMPILATION

  (Books 1 to 3 of the Wolves of Dumnonia Series)

  Published in Great Britain in 2020 by Elterwater Press Ltd, 5A Main Street, Cockermouth, Cumbria, CA13 9LE

  www.elterwaterpress.com

  Text copyright © 2020 Peter Fox

  Cover artwork by Carolina Fiandri, Circecorp Design, copyright © 2020 Elterwater Press

  Cartography copyright © 2020 Helen Stirling Maps and Elterwater Press

  Additional copyright attribution - Map 1: Derived from "Blank in Europe (relief) (-mini map) (-political borders)", Creative Commons BY-SA 3.0. Map 2: Derived from Norwegian Mapping Authority Open data. Creative Commons BY 4.0. Map 3 and Map 4: Contains Ordnance Survey Data. © Crown Copyright and Database Right 2017.

  Peter Fox has asserted his right under the Copyright, Designs and Patents act to be identified as the Author of this work. The moral right of the author has been asserted.

  All rights reserved; no part of this publication may be copied, distributed, reproduced, stored in or introduced to a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, scanning, recording or otherwise), without the prior written permission of the publisher.

  Elterwater Press and the swan logo are registered trademarks.

  A CIP catalogue record of these books is available from the British Library.

 

 

 
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