A Novel

by Signe Pike

  Clyde Rock is now called Dumbarton Castle, found at the mouth of the rivers Leven and Clyde. “The Beak,” where some early medieval buildings might have stood, was leveled in the seventeenth century to house a powder magazine, obliterating much of what might have been found there. But several ancient sources name Rhydderch and Tutgual (under various spellings) as rulers of Strathclyde at Dumbarton Rock. Fragments of glass and jewelry dating to the sixth and seventh centuries have been uncovered there. The museum there is excellent, and the enchantment of the place remains. VisitScotland now offers tours of many of the locations featured in this novel and in Adam Ardrey’s books.

  Linguistically, I’ve taken liberties when faced with the struggle of maintaining a sense of historic integrity while ensuring the names and places in this book are accessible to readers less familiar with P- and Q-Celtic. Sometimes choices I made were for the sake of ease of pronunciation. (Partick is modern, Pertnech is old.) Other times, one word was chosen over another, perhaps more accurate word to better convey a sense of atmosphere for readers. “Aye,” for example, is a form of assent still used in Scotland today but thought to belong to the late sixteenth century, making it technically quite non-Brythonic and one thousand years too late for justifiable inclusion in my book. However, one word for “yes” in Welsh is ie, and Welsh descends from Old Welsh, which descends from Brythonic. Since ie is unfamiliar to most readers, I’ve used “aye” instead, as it perfectly captures the spirit of the expression and how it might have been used. Alclud and Alt Clut translate into “Rock of the Clyde” or “Clyde Rock.” The historic site is found in the town of Dumbarton, which comes from the Q-Celtic “Dun Breatainn,” or “Fort of the Britains.” To keep things simple, I used the more colloquial English name of Clyde Rock. In a land of territories and shifting languages over time, some words were lost in one dialect and are remembered only in another. Rather than invent a word in these instances, I chose to use a more modern remembrance.

  My hope is that these novels will encourage you to undertake a journey of your own. For although the legends of Arthur and Merlin have their roots in events that took place nearly 1,500 years ago, their enchantment and ability to enrapture us has failed to diminish over time.

  Who was the man known as Lailoken? And what of our lost queen, Languoreth? The times this brother and sister lived through, the battles they fought, and the beliefs they fought for, may be obscured by deliberate slander and veiled by the fog of history.

  But their magic is still accessible to any who seek it.

  ACKNOWLEDGMENTS

  * * *

  These novels would not exist were it not for the great mind of author Adam Ardrey. Any who admire this trilogy should seek out the roots of the story in his nonfiction books Finding Merlin and Finding Arthur, which not only inspired me but also provided an incredible foundation for my own research. Adam has been not just a good colleague but also a very good friend, taking me to sites and spending the accumulation of many hours with me whether it was virtually, on foot, or in cars. Adam, thank you. And to Adam’s lovely wife, Dorothy-Anne Ardrey, for making me feel so very welcome across the broad sea.

  To my editor, Trish Todd, at Touchstone, for her keen eye, unparalleled historical fiction and writing acumen, and incredible belief in this book. You make me believe in publishing magic. Thank you for helping me bring Languoreth and her complex, sixth-century world back to life. To assistant editor Kaitlin Olson for her dedication, kindness, and time in shepherding this work. My sincere thanks to Scribner Publishing Group president/Touchstone publisher Susan Moldow, as well as copyeditor David Chesanow and the phenomenal team at Touchstone for their passion, talent, and support.

  To my agent, Faye Bender at the Book Group, for her smart editorial feedback, guidance, encouragement, and all-around amazingness. She’s a rare human being.

  To Mary Alice Monroe, who not only prodded me to write these books but also delivered my own private MFA crash course in writing fiction. Your wisdom, mentorship, and belief have changed me. Julie Beard, Patti Callahan Henry, Patti Morrison, and Marjory Wentworth provided endless encouragement. I’m grateful to the rest of my Lowcountry tribe for their friendship and support: Dorothea Benton Frank, Ellie Maas Davis, Nathalie Dupree, Nicole Seitz, and Cassandra King Conroy. To Ronlyn Domingue, whose brilliant early read brought the book to another level. Thanks also go out to Lynne Fraser and Dr. Arlene Oldham.

  Bobby Smith at Chatelherault Country Park in Hamilton, Scotland, has provided tremendous research support as well as friendship, car-repair advice, and lattes since 2013. He’s made Chatelherault feel like a second home to me, the very woods where Languoreth and her family once walked. Martin Fitzpatrick’s archaeological background and time spent touring Chatelherault with me was vital. To Paul Broadfoot at the Hamilton Library in Scotland for his research help concerning later medieval Cadzow Castle and Chatelherault. Warren Bailie at GUARD Archaeology Ltd. in Glasgow gave generously of his time, resources, and expertise. The National Museum of Scotland in Edinburgh has built a magnificent collection concerning Scotland’s early people, and I’m incredibly grateful for their dedication, knowledge, and passion for history.

  The Armstrong family in Scotland are the keepers of a very significant site, and were generous enough to allow me and Adam Ardrey to visit. Thank you for permitting me to tromp through your farm.

  To Franciscan Brother Richard Hendricks of Ireland for his friendship and sharing his wisdom on the early Celtic Christian world, and to Father Guerric and the Trappist Monks at Mepkin Abbey, South Carolina, for the enchanted silence they provide seekers of all faiths. To Kyle Grey for playing tour guide on my first visit to Glasgow and Dumbarton Castle.

  Deepest thanks to my big (and bighearted) family—Pikes, Johansons, Liebetraus, Leightons, and Johnsons—who have loved and encouraged me for more than a decade. I’m so grateful for you all. To the Whitmires and my best girls Liv Cook, Elizabeth Butler, Laura All, Stephanie Higgs, Liz Paulson, and Lea Beresford for epic friendship and support. To Eric Liebetrau, whose support and expert spelling ability made this book a reality. No question was too small. Thank you, Eric, for believing in me.

  To my mother, Linda Johanson, who’s read this novel countless times and offered unthinkable amounts of input and assistance, whether it was in phone calls at all times of day and night, the brainstorming of titles, the sounding out of plot threads, or flying to Scotland to play nanny to my toddler so I could visit ancient sites. There are no words. And to my sister, Kirsten Pike, the cornerstone of my foundation.

  A Touchstone Reading Group Guide

  The Lost Queen

  Signe Pike

  The Lost Queen

  by Signe Pike

  Reading Group Guide

  This reading group guide for The Lost Queen includes an introduction, discussion questions, ideas for enhancing your book club, and a Q&A with author Signe Pike. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.

  Introduction

  Ever since Languoreth was a child, she dreamed of becoming a Wisdom Keeper, one of the members of society who were the doctors, jurists, political advisors, teachers, historians, and diviners of the ancient Celtic world. But as a woman in sixth-century Scotland—and the only daughter of a king—her life’s path is not her own. She has been promised in marriage to Rhydderch, a Christian prince, whose kingdom and new religion threatens violence and conflict in the land of the Britons.

  Despite knowing the important role she is to play as a future queen, Languoreth cannot forget the connection she has to her family and the gods of her ancestors. Nor can she ignore the intense attraction she feels toward Maelgwn, a Dragon Warrior from the Borderlands. Most of all, Languoreth cannot set aside the bond she has with her twin brother, Lailoken, who is destined to become the Wisdom Keeper she’d always hoped t
o be, as well as a leader of the community her new family opposes but she still longs to be a part of.

  Topics & Questions for Discussion

  1. In part one, Languoreth’s family sees trouble stirring on the horizon as the Christians threaten a longstanding peace. Nevertheless, her father, Morken, advises Lailoken not to act, telling him “‘This is not yet our war.’” What do Languoreth and Lailoken think about this conservative strategy? How might Lailoken’s approach to the encroaching threat have been better? Worse?

  2. When Languoreth’s father first hears about Emrys Pendragon, he is skeptical of his ability to lead in such troubled times, but Morken’s counselor Cathan claims, “‘When the people need a hero, so are such heroes made.’” What does Cathan mean? How does the world in which we live contribute to or hinder our ability to cope with our difficulties? Is the Pendragon the only such hero made in this book? Who are the others? How are we to define a hero based on this definition?

  3. After she first meets Ariane, Languoreth tells her she has a funny way of speaking and Ariane replies, “‘Perhaps it is you who has the funny way of speaking.’” How does the influence of someone different assist Languoreth during her development? How does her perspective change, as Ariane suggests here, after she is one of the few people from her house living within a Christian kingdom? What effect does living in a place so different from one’s own home have on one’s understanding of the world and oneself?

  4. Languoreth reflects on her mother’s death by wondering if every time tragedy befalls a person it is excused by the saying, “‘This is the way of the Gods.’” Is accepting tragedy as destiny beneficial or detrimental to the people it is meant to comfort? How does Languoreth adopt this philosophy later in the novel and is it effective for her?

  5. When her mother told Languoeth she would be forced into an arranged marriage, she thinks: “In that moment I understood I would never belong to myself.” What does that mean? Discuss how Languoreth belongs to herself and what ways she doesn’t. Do women today still never completely belong to themselves?

  6. Echoing Languoreth’s commentary, Ariane tells Languoreth that she will not be like someone else but rather, “‘I am always myself.’” How is being oneself and belonging to oneself distinguished as different in the book? Despite serving Languoreth, does Ariane still belong to herself? Do other characters ever truly belong to themselves?

  7. Languoreth often has doubts about her Gods, though Lailoken does not. Languoreth notes, “The Gods did not protect Mother. The Gods did not protect Bright Hill. Yet they will come to Cathan’s aid?” How is Languoreth’s understanding of faith different from Lailoken’s? In what ways have their different experiences shaped these separate versions? Is believing fate is on your side dependent on having faith? Faith in what?

  8. Tutgual is never able to announce his decision about the Christian burial that sets off so many of the conflicts in this book. What do you think his decision would have been? Would a decision have made a difference in delaying the Christian conflict? Does the inevitability of fate in this moment outweigh the importance of a human decision, even one from someone as important and powerful as Tutgual?

  9. Ariane attempts to empower Languoreth before her arranged marriage by telling her, “‘Nothing can be taken from you that you do not freely give.’” To what extent is this true in the story and to what extent does it prove false? What is taken from Languoreth and others that they do not freely give? What was freely given but reluctantly, as in a sacrifice? What is the benefit of such sacrifices?

  10. When Languoreth finally recognizes herself as a grown woman she thinks, “The woman who stood before me was untamable. Timeless. She was mother, crone, maiden and beauty.” These female archetypes become sources of power for Languoreth. What real female role models does Languoreth have throughout her life? Discuss whether all these women both untamable and timeless. How do they all embrace and reject these stereotypical female identities?

  11. When reflecting on the Dragon Warriors, Maelgwn says, “‘I fear our love of freedom is also our greatest weakness.’” What does he mean? Why do other people in the novel sacrifice their freedom and those they love to be part of a unified kingdom? Are these sacrifices worth it?

  12. Languoreth’s decision to execute Desdemona is not an easy one, but once she makes it she never looks back. To what extent is Desdemona’s betrayal understandable? How does class structure and sibling rivalry figure into her treason and make the political within this novel deeply personal? Is Languoreth right to execute her, and in what way can this decision be seen as another one of Languoreth’s sacrifices?

  13. In the end, Languoreth must say goodbye to her son, and she “discovered a pain unlike any I had felt before.” Why is this final loss more monumental than all the others? What does this say about the bond between a mother and child, and about what is freely given versus what is truly taken? In what way are Languoreth’s sacrifices greater than others’ in the novel? Are women’s sacrifices greater than men’s? How?

  14. In the first part of the novel, Languoreth often reflects on missing her mother and thinks, “What was the sense in loving if all those you cared for were taken away?” How does Languoreth’s feelings change throughout the novel as more and more is taken from her? Does the novel ever offer an answer to young Languoreth’s question? How could Languoreth’s entire life be interpreted as an answer to this question about loss, love, and the meaningfulness of life?

  15. In her final letter, Languoreth foresees “those who seek to tell a new history” and writes her letter in order to “remember our stories.” How is history equated to storytelling here? Who has the power to craft our understanding of history? Does a revisionist version of history, such as Languoreth’s letter and this novel as a whole, help give voice and agency to those overlooked in history?

  Enhance Your Book Club

  1. After being abused by her father-in-law, Languoreth demands to know where her husband’s loyalties lie, to which he responds, “‘My loyalty lies with you and with this kingdom.’” Ask everyone in your group to bring a list of where their top priorities or “loyalties” lie. For example are they with their children? their friends? their religion? Do these loyalties ever come into conflict? Also have everyone pick five core values from a list of options like this one prepared by Carnegie Mellon University and discuss how you incorporate these values into your personal and professional life. What differences do you see emerging in what people feel matters most? How does this change the way you each interact with the world?

  2. In part one of the novel, Languoreth and Lailoken make wishes on pieces of amber, then cast the amber into a pool. Bring a some pebbles or beads to your group and have everyone select one to imbue with a wish. Discuss your process for choosing your stone and your wish. Was the wish for yourself or for someone else? How would your wish have been different if you made it when you were a child or a teenager? How do you anticipate what you wish for changing in the future? Is it possible to craft a timeless wish? Take the stones and toss them in an ocean, river, or stream, or set them beneath a special tree, perhaps with an offering of flowers.

  3. Ask everyone to think of a story from their family history to discuss. It could be anything from their own childhood that now gets told at family gatherings or an infamous story about another family member that they’ve heard. After sharing the stories, discuss how the events become stories. What details have been added over time? Who likes to tell these stories and why? From what perspective are the stories told? What’s the message of the story? What would the story look like if told by a different member of your family?

  4. Write down the names of famous male historical figures on slips of paper and put them in a bowl or jar. Have everyone in your reading group pick a slip of paper, then try to imagine and describe what the life of this man’s wife, daughter, or sister was like. What would it have been like for women during the period this man is from? How would the women have been involved i
n the same conflicts and decisions as their famous husbands, fathers, and brothers? What unique challenges would the women have faced when confronting these same difficulties? Later, research to see if anything is known about the women from these men’s lives and what they might have been like.

  A Conversation with Signe Pike

  How did you first discover Languoreth and what compelled you to research her further?

  I first came across Languoreth’s name in Adam Ardrey’s nonfiction book Finding Merlin. I was leading a retreat in Glastonbury, England, at the time and the book caught my eye in a local shop. I’d just come from Tintagel, in Cornwall, where I’d been intrigued by “Merlin’s Cave” beneath the castle ruins. As a nonfiction writer, I’d spilled a good amount of ink tracing the threads of myth and folklore down to their origins, and had discovered that within nearly every legend lies a kernel of truth. It fascinated me to learn Languoreth was a historical queen. She was someone we could root in history, yet her brother was considered mythological. I realized I wanted to learn more about the real people who potentially inspired the Arthurian legends.