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Hild: A Novel
Hild: A Novel
Hild: A Novel
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Hild: A Novel

Rating: 4 out of 5 stars

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Award-winning author Nicola Griffith's brilliant, lush, sweeping historical novel about the rise of the most powerful woman of the Middle Ages: Hild.

In seventh-century Britain, small kingdoms are merging, frequently and violently. A new religion is coming ashore; the old gods are struggling, their priests worrying. Hild is the king's youngest niece, and she has a glimmering mind and a natural, noble authority. She will become a fascinating woman and one of the pivotal figures of the Middle Ages: Saint Hilda of Whitby.

But now she has only the powerful curiosity of a bright child, a will of adamant, and a way of seeing the world—of studying nature, of matching cause with effect, of observing her surroundings closely and predicting what will happen next—that can seem uncanny, even supernatural, to those around her.

Her uncle, Edwin of Northumbria, plots to become overking of the Angles, ruthlessly using every tool at his disposal: blood, bribery, belief. Hild establishes a place for herself at his side as the king's seer. And she is indispensable—unless she should ever lead the king astray. The stakes are life and death: for Hild, for her family, for her loved ones, and for the increasing numbers who seek the protection of the strange girl who can read the world and see the future.

Hild is a young woman at the heart of the violence, subtlety, and mysticism of the early Middle Ages—all of it brilliantly and accurately evoked by Nicola Griffith's luminous prose. Working from what little historical record is extant, Griffith has brought a beautiful, brutal world to vivid, absorbing life.

LanguageEnglish
Release dateNov 12, 2013
ISBN9780374711016
Hild: A Novel
Author

Nicola Griffith

Nicola Griffith (she/her) is a dual UK/US citizen living in Seattle. She is the author of award-winning novels including Hild and Ammonite, and her shorter work has appeared in Nature, New Scientist, New York Times, etc. She is the founder and co-host of #CripLit, holds a PhD from Anglia Ruskin University, and enjoys a ferocious bout of wheelchair boxing. She is married to novelist and screenwriter Kelley Eskridge.

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Rating: 4.013927576601671 out of 5 stars
4/5

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  • Rating: 3 out of 5 stars
    3/5
    I feel weirdly dunno about it. I love the world, and her perspective on it. but it felt like the book rambled all over without going somewhere.
  • Rating: 4 out of 5 stars
    4/5
    Tiptree Award honours list 2013.Enjoyed this very much. Loved the imagining of places that I knowas their historical selves - especially Yeavering and Bamburgh in modern Northumberland and many sites throughout Yorkshire. Also liked the fact that this was very much a story of women - when the men go off to war and we might expect to join them with descriptions of mighty battles and blood-soaked heroism we stay at home with the women and follow the daily round of work that has to go on to keep a community thriving. Yes, there's blood and death, plots and double-crosses, but Hild helps to shear the sheep as well as being the King's seer!
  • Rating: 2 out of 5 stars
    2/5
    This novel starts with such promise. Griffith's reimagining of 7th century Britain is so convincing and her Hild is a singularly vivid character that defies cliche. The story feels fresh and surprising. Eventually, however, it flags, and even worse, modern sensibilities insinuate themselves into the narrative in a way that feels jarring and unwelcome. There could be future installments of Hild, and one hopes that Giffiths can keep it on the rails next time.
  • Rating: 5 out of 5 stars
    5/5
    It's set in 7th century Britain and follows the early years of Hild who later became Hilda of Whitby. There's not a lot known about her, so it's mostly fictional, though there's a lot of historical detail that Nicola's taken to get right. It follows her from when she was young into her teenage years. She's seen as a seer and so has more power than a child or a woman might have at that time. She needs to decide what to do with it though. Her foreseeing powers are played very straight, there's no magical realism here, yet she impresses others with those abilities. I struggle with complex plots, and I must admit I got lost in the battles and politics of the time, but I just let it flow by and grabbed onto the things that I could get ahold of when they came up. Fortunately Nicola is planning a follow-up book as there is a lot more to come in Hild's life.
  • Rating: 5 out of 5 stars
    5/5
    This is a remarkable book that I would have given 5 stars to except that I really wanted a comprehensive list of characters and where they lived. There is a map and there is a family tree for the noble house that Hild is part of. But there are many more characters than just that noble house and it would have been easier to keep everyone straight if there had been a list of major characters. Since the book is over 500 pages long it takes some time to read it and I lost track of people that were introduced at the beginning and then brought up several hundred pages later. But that is a minor quibble and, in all, this was an excellent read about an era that was completely new to me.Hild was a real person who became known as St. Hilda of Whitby. However, not much is known about her early life so the author has amplified the facts with conjecture. Hild's father was poisoned when she was young. Her mother, Breguswith of Kent, took Hild and her sister, Hereswith, to the court of Edwin, ruler of Northumbria, and also their uncle. Breguswith had called Hild "light of the world" when she was born and Hild was reputed to have supernatural powers. Breguswith intended to become powerful in Edwin's court by using Hild's supposed abilities. Hild's abilities are based upon observation of people and nature and, because her predictions pan out, she is called a seer and a witch. Hild was brought up with Cian who is the son of her mother's friend, Onnen. Onnen was not married to Cian's father and it was unclear who his father was. However, as Hild and Cian grow up it becomes clear (at least to anyone who looks closely) that they had the same father. They both become indispensable to Edwin but as they get older they travel different paths. There is sexual tension between them but Hild, who has figured out the relationship, never lets it take over. This puzzles Cian and he withdraws to other women. This was a dangerous time to be alive and Griffith shows us all the ways death can come to people. There are accidents, childbirth, sickness, robbers and war in plenty but there are also times of prosperity for those who survive. They certainly seem to do a lot of drinking when they are at leisure. Mead and wine and ale flow freely. Another leisure activity is intercourse; warriors with slave women, noblewomen with noblemen (not necessarily their spouse), girls with peasant boys, girls with slave women and any other combination you can think of. Of course, when death could be coming at any time who wouldn't want to drink and make love?Any fan of historical fiction should revel in the detail. And, if you are like me, you will hope there is a sequel in the works.
  • Rating: 5 out of 5 stars
    5/5
    One of the best books I have read in the past 10 years. Griffith melds history and language into a breathtaking novel that lilts with the rhthym and imagry of the great epic poems. I read it in three binge sessions and then started over, just to savor it again.
  • Rating: 4 out of 5 stars
    4/5
    From the moment I began reading Hild I was transported to 7th century Great Britain, a time of Anglo-Saxon under kings and power struggles. The story revolves around St Hild of Whitby who was instrumental in the conversion of Britain to Christianity- but this is no dry historical recounting. Griffith's writing is laden with the words, phrases and nuances of Old English spun in such a way as to detail daily life to the point where the reader's five senses are engaged. She recounts the times through the eyes of Hild, from age three on, in way that strengthens and enriches her characters into complex and often contradictory people we feel we know and understand.While this is a fictionalized history,it transcends the genre and I found it to be a mixture of history, fantasy and adventure. I really hope people give this book chance- the language can be a bit tricky in the beginning, but it gets easier as you go along and really- its wonderful.
  • Rating: 5 out of 5 stars
    5/5
    Six-word review: Violent medieval politics frame noblewoman's youth.Extended review:Beautifully realized fiction of life and war in Britain's early Middle Ages, as seen through the eyes of the child Hild as she matures into a powerful, far-seeing young woman in the court of her uncle King Edwin of Northumbria.Nature, nurture, and self-discipline shape her subtle mind as observer and interpreter of both natural phenomena and human behavior, weaving them into patterns that reveal hidden connections and future directions. As the king's seer she must counsel and advise while protecting her own interests and those of her loved ones. Alone among the women of the court, she bears weapons of battle and serves the king in both armed and diplomatic conflict among petty rivals for control of all Britain.This novel falls short of top marks for me largely because of the pacing, which made the scope and complexity difficult to follow. I came close to letting it go after a hundred pages, mainly because I was feeling impatient while waiting for it to grab me. It seemed to be setting the stage for a very long time, setting an enormous stage with so many characters and so much backdrop that I couldn't track it all. In time it was the character of Hild who held my interest; but I gave up on trying to remember who all those were that surrounded her and guess which ones I'd want to hold in mind for future reference. Sometimes the intervals between mentions of a character who was going to turn out to be important were so long that I didn't realize I'd ever met him or her before, and the author didn't remind me. The ease of confusing similar-looking names added a level of challenge to this aspect.The author's not to blame for the language patterns and naming customs manifested in historical seventh-century personal and place names, but I'd have found a reference list or index extremely helpful. I shouldn't have to leaf back through hundreds of pages to locate the first mention of a character's name and get a reminder of who the person is. From one day to the next I had difficulty remembering the roles and relationships of many of the characters.I also wished that Griffith would remind us from time to time of Hild's age. I lost track sometime around the age of twelve and really had no idea of how old she was by the end. Fifteen? Thirty? I had no markers to go by. The references that were provided were indispensable. I turned to the family tree, the map of old Britain, and the glossary many times in the course of each sitting. However, they were insufficient. Many more unfamiliar terms (for instance, "torc") appeared than were glossed in the back or explained in text. Place names (for example, "Less Britain," which does not appear on the map) occurred without prior mention, treated as significant but not explained. Epithets such as "Twister" cropped up suddenly, as if they'd been part of the author's character notes all along but she'd forgotten to mention them.In fact, I had the feeling repeatedly that Griffith was in possession of such an overwhelming mass of material, some of it factual and very much of it invented, that it often threatened to swamp the story. At times I did feel swamped. Yet when we came down to the last fifty pages, all of a sudden it seemed extremely rushed. Seasons and events were dispensed with in a line or two, and the dramatic unfoldings that we'd been building to--political outcomes, results of intrigues and machinations, fateful deaths--either remained in the future or swept past with barely a nod. At that point I also realized that one of the big questions I had hoped to see answered--namely, how did the main character bridge the gap between the old religion and the new Christianity so well as to become Saint Hilda?--was going to be left hanging.I don't consider that a spoiler because the jacket blurb and promotional reviews tell us that this is the story of a saint-to-be. It seemed reasonable to expect that something in this narrative would point to how that transformation came about, especially since when Christianity invades the lives of these Woden-worshippers young Hild seems none too convinced. But to be fair, the book itself does not make that promise. Perhaps a sequel will unveil that mystery; in a note at the end, the author says she is working on the next part of Hild's story.Meanwhile, one of the great virtues of the present narrative is the author's rendering of young Hild's sensitivity to the natural world. Griffith's lush and often tender descriptions of landscape and animal life employ evocative language in delicate brushstrokes that are as confident as they are fine. Two examples randomly chosen:=====(Excerpts begin)One evening she stood with Cian on the wooden walkway at the highest corner of the stockade and watched the sun setting over the white fields like a winter apple, small and shrunken, staining the snow with its tired juice. The air smelt of iron and brine. (page 317)Slowly, carefully, like an orphaned foal folding itself down on the straw by a cat and her litter, Hild tucked herself alongside Begu and laid her head on her shoulder. (page 496)=====(Excerpts end)The same hand delivers brutal battle scenes and acts of violence without flinching, refusing to turn away just as young Hild refuses, yet without savoring them or forcing gratuitous grue upon us. She even brings freshness to scenes of lovemaking and affords us glimpses of a private mind that feel intimate rather than voyeuristic.I'll willingly follow Hild's story into another volume. I hope that when it comes the author will supply sufficient cues to bring the dense context of this narrative to mind so that I miss no part of the patterns she so expertly weaves.
  • Rating: 5 out of 5 stars
    5/5
    This was the best book I read in 2013 (great way to end the year). Fascinating and evocative. Highly recommended.
  • Rating: 4 out of 5 stars
    4/5
    This is historical fiction at its best. We not only meet figures from the past but get a detailed view of life at that time. Hild eventually was known as St. Hilda of Whitby and in this book we follow her in her formative years. She was born in 614 and her mother always drilled into her to have a "quiet mouth, bright mind." She was fortunate to be in a position to spend hours observing nature, cause and effect, and became intimately attuned to the sounds and movement of birds and animals. This gave her the ability to give advice on planting and harvesting and when to move on enemies. She was known at the "light of the world" and people admired her strength and intelligence as they feared her for a witch. King Edwin of Northumbria listened to her as a seer and followed her advice even as young as she was.Hild grew up alongside a boy named Cian who taught her how to fight. She grew to be as tall as he was, taller than other women and many men, and very strong. At an early age she accompanied the king to a battle and astounded the men by humanely killing the wounded enemy who would have been left just as they lay.The best thing about historical fiction is that the reader is given an opportunity to know people more intimately than a history book which is restricted to known facts. We are also immersed in the world of the characters and come to appreciate the difficulties of living in times like this where even a simple piece of clothing represents hours and hours of labor to produce.My advice to readers is to read the glossary first and become familiar with the definition and pronunciation of archaic terms and names.
  • Rating: 5 out of 5 stars
    5/5
    A truly extraordinary book. The title character (who historically later became Saint Hilda of Whitby) is born into seventh century Britain and is raised to be the king's seer. Britain is experiencing great political upheaval as Christianity is introduced. The author brings this period to vivid life, showing us a world both strange and wonderful, linking us to it with those things that never change much: human emotions and the natural world.Hild is a wonderfully drawn character, unusual for her time. The dangers whirl around her as she struggles to see and interpret patterns, hoping to supply her king with enough information to keep herself and those she cares about safe. Wars intrude as rival kings plot each others' downfalls, priests suggest Hild has a demon as they vie for power. Complex characters seem very true to life.This is a long book but the pacing is perfect, and though the ending is satisfying, the reader is left wanting more. I wish I could give it more stars.
  • Rating: 5 out of 5 stars
    5/5
    Do you know anything about St. Hilda of Whitby? No? Me neither. Well, I didn't - until I picked up this gorgeous book by Nicola Griffith. Hild takes on history with imagination, a deft writing style, and some of the most complex, gorgeous storytelling ability I have ever read. That's not to say it's an easy book, or a particularly gripping one due to the nature of St. Hilda's life, but there is something about a well-crafted, historical tale that tells a little known story that is so appealing to me. I am so glad that it didn't disappoint.Read the rest of this review on The Lost Entwife on Nov. 28, 2013
  • Rating: 5 out of 5 stars
    5/5
    This is a big, sprawling, behomoth of a book. It is set in 7th century England and it tells the story of the rise of the most powerful woman of her era. Hild was a real person, and her possible rise to power. Not much is known about Hild, but Nicola Griffith paints a very vivid picture of this unforgettable woman. It's historical fiction, but the language, the names of the people, the beliefs of the people of that time are very realistically portrayed. The book is a bit difficult at first to get your head around with all the strange names and the mix of three or four languages that were used at that time, but as you read, it all becomes brilliantly clear and the story unfolds at a very brisk pace. Nicola Griffith's prose is beautiful and stirring. Even the numerous battle scenes are exquisitely written so that it feels like you are actullay there amongst the blood and gore. This is not historical fiction for the faint of heart. It's big and bold and graphic, but warm and real and it's a lovely escape. I highly recommend it for lovers of this genre.
  • Rating: 3 out of 5 stars
    3/5
    I had a hard time getting into this seventh century historical fiction bildungsroman centered upon the character Hild; a dramatised account of the partial life and times of the woman that would eventually become St. Hilda of Whitby, the focus of a paragraph or so in Bede's Ecclesiastical History of the English Nation. Woah, mouthful. Also, an unfortunate thing to say about a book from my beloved historical fiction genre.

    This is my first encounter with Nicola Griffith's work. She did a lot of research for this novel and though her period titles and vocab aren't as in depth as they could be, I can't fault the effort behind the work at all. I think she brings a wealth of information to us about a world that is oft romanticised past all endurance by pop culture and I thoroughly enjoy any work that can lead me down the rabbit hole of research and further reading.

    My issue was the drudgery that surfaced during the more arid parts of the novel. Parts that created a disappointing disconnect with the world I wanted to sink down into with Hild, Cian, Breguswith, Edwin, Begu, and like company. I don't want to be told about some campaign- I want to see it, feel it being fleshed out about me. For the larger part of the novel Griffith accomplished this beautifully. Hild's awareness of self and the world around her are the gilding of the book, a satisfyingly quenching drink for the reader. And though an arid part or two is often the risk of any fiction that's based in fact, it made those moments all the more disappointing because you can clearly see Griffith's skill concerning personal point of view. Because of that skill, I found myself wanting Griffith to escape the weight of history and lean more into her characters.

    That being said, I did find it easier to get into the book later on once my focus became the characters and the burden of like-named individuals and the flip-flop-flipping and often overly detailed political aspirations became secondary. There's these rich moments we have with Hild that are just wonderfully wrought from both an emotional and mental perspective. The gravity of her situation and surroundings, the weight of her emotions and unfolding path or wyrd, the relationships from the familial to the friendly to the sexual - from sworn loyalty to infinite leagues of emotional fealty -, the encompassment of Christianity taking it's root and the priests that dug the holes, the suspense of a wrong move, and a burgeoning sense of personal "right" and "wrong" all combine into a poignant view of a life well told.

    I certainly applaud Griffith's work and would recommend it to historical fiction lovers. Along with Griffith's handy glossary for when things get dicey and you want to take a seax to everyone with names that begin with C.
  • Rating: 3 out of 5 stars
    3/5
    I tried a few times the last year and never managed to get into it, always losing the story, but at the 5th or 6th try I now finally managed finish it (there is a 2-page dictionary at the end, which helps). The story is summarized as a mini "Game of Thrones", and Hild itself is all too perfect and wise. Not going to read the second book.
  • Rating: 3 out of 5 stars
    3/5
    Fantasy by courtesy due to the author's reputation as a writer of speculative fiction I've been wanting to read this for awhile as an honest effort to put flesh on the bones of the British Isles during the dark ages. However, this is another one of those books I respect more than I like as while I can recognize the work that went into this novel it never really clicked for me; too many of the characters just aren't that interesting in and of themselves apart from our protagonist Hild.
  • Rating: 3 out of 5 stars
    3/5
    Hild of Whitby. One of the things to do these days is to take these famous people from early times and fill in their lives. So, this book is both a piece of fiction, as well as one based in what facts Griffith found in her research. I really didn’t know too much about this Hild character, but, I guess that a lot of her life is not known, and so this book takes a fictional whack at what her life could have been like during the time she was living.The writing was amazing, which isn’t surprising since it’s a Nicola Griffith book, and in general, no matter how I feel about the topic/themes she writes about, the language is always beautiful. I could also tell that she did tons of research, and while that made the book interesting in some ways, it also bogged down the narrative in a lot of other places too. Because, sometimes I just had no idea what in the world was going on, and that brought the book down almost a whole star. I don’t always have to totally understand what’s going on in a book at every moment to enjoy it. Sometimes when it comes together and everything falls into place it’s an amazing feeling, but, that just didn’t happen for me during this story, and that sorta bums me out because I do think that Nicola Griffith is a great and uniquely talented writer. This book just wasn’t quite in my wheelhouse I think.I got this advanced galley through Netgalley on behalf of Farrar, Staus and Giroux.
  • Rating: 5 out of 5 stars
    5/5
    If you read one book in the historical fiction genre this year, Hild is the one to read. It is epic and the writing is gorgeous - sprawling across seventh century Britain much like my cat sprawls in the window each morning to catch the sun on his belly. It is bursting with story - rich, detailed, fully imagined.St. Hild of Whitby is known as the founding abbess of the monastery at Whitby and renowned in converting England to Christianity. What is known about her life, particularly the time before she came to Whitby is relatively little. The sparsity of information provides a canvas for Nicola Griffith to flesh out. Hild is a compelling character with her roots in pagan faith. Her mother, a schemer and plotter (and, most of all, a survivor) helps her find a place at the King's court as his seer and throughout her life she uses her powers of observation, her friendships, her instincts and her ability to read and write to see the patterns of coming events.This is a book about women in the seventh century and how they moved within the confines of the male-dominated power structure of the time. The constant in-fighting between small kings; the threats of disease, famine, drought, and childbirth; the vagaries of war - all of these elements are in Hild as are the basics of daily life - churning butter, making cheese and bread and other foods, brewing potions, gathering herbs, farming, weaving, fishing - you name it. Nicola Griffith creates the world of seventh century Britain, populated with characters you can care about, and walks with you hand-in-hand through the tale.I loved everything about this book. Its characterization, its story, its language - all of these combined to create a reading experience I mourned when it was over. Fair warning - Hild is full of terms and places you probably aren't familiar with, but even without quick access to a glossary you can parse out the meaning of terms within the context of what's written and that's part of the book's charm. Is there anything better than being plopped down into an unfamiliar landscape and discover its subtleties as you go? I loved this book - one of the best things I've read all year.
  • Rating: 5 out of 5 stars
    5/5
    ...the child begets the woman, cleft to her wryd Hild the child that would become Saint Hilda of Whitby. Griffith's novel illuminates the person Hild might have been in her earliest years. The known is cleverly interwoven into the storyline. Hild's father, Prince Hereric, was nephew to King Edwin of Northumbria. He was poisoned. Hild was brought up in the court of King Edwin.Hild's wryd (personal destiny) is her path. She is 'Light of the World'. She carries a seax, a type of dagger, and she stands tall.Her sister Herewith's wryd is different. She will be a queen. I found it hard to resolve the description of Hild in her very young years. She is marked as special from birth. A child heavy with her future wrapped around her. Even as young as three, Hild's clarity of thought and perception is prodigious, and later as still a child not yet come into her womanhood, her wisdom is more like that of a mature woman. After all wisdom is what Hilda of Whitby will become renowned for, along with having contributed in the christianizing of Britain. In this fictional account of Hild's life, just as the Irish priest Fursey did, I found it sad that Hild was never allowed to be a maid, young and carefree. Her feet are set on her path from birth, thrust there by her wryd and kept there by her mother, Breguswith.Seer to a King, a prophet, Hild learns early to watch and understand many aspects of her world, be it nature, animals, the wind, the season for plants, the stars, the flow of the rivers. She studied behaviour, carefully watching people and identifying their tell-tail tags, gaging their interactions and reactions. Hild studies the languages of the various peoples of her land, including the roman priests. She learns to read and values the gift of communication it is. This all helps in her reaching to understand portents and possibilities.Everywhere is the struggle for power by kings and their priests. The struggle for kingdoms, lost and gained, and of the old gods destroyed and a new god rising. Hild is ever concerned with wars and the business of kingdoms, their waxing and waning.And always there is the mystery of her childhood companion Cian. Cian who is always more.The difficult path she weaves between the various courtly interests, waring princes and her mother's intrigue is fascinating. Life at this time, especially for women, is relayed so realistically you feel like you are there. The role of women is clearly defined, yet as the King's seer Hild rides beyond that place. Later she becomes the King's Fist, at great emotional cost. And for Hild there is the waxing and waning as times change, and old enemies become new, old threats are revisited. Her search for her true self is painful. For Hild 'there were patterns everywhere.''Tumult in the river mouth', Hild sang to herself when but a child. Words that were a promise of the path her wryd will take her down.The more I read, the more I was drawn in.A NetGalley ARC
  • Rating: 2 out of 5 stars
    2/5
    This one was a real disappointment. I'd really been expecting to like it because of Nicola Griffith, but it turned out to be tedious and confusing. It was over-researched. Griffith wrote in an Author's Note:I learnt what I could of the late sixth and early seventh centuries: ethnography, archaeology, poetry, numismatics, jewellry, textiles, languages, food production, weapons, and more. And then I re-created that world and its known historical incidents, put Hild inside the world, and watched, fascinated, as she grew up, influenced and influencing.Unfortunately, she also took all of her research, every last bit of it, refused to throw away a single index card, and crammed everything into 530-some pages. After a while I simply got tired of reading of meadhall after meadhall, weaving and dyeing, endless battles, and so on in the minutiae of early medieval England.Further complicating everything were the multiple ethnographies and languages — Anglisc, Brythonic, Irish, and Latin — the problem being not with vocabulary in general but with so many ethnocentric names. The Latin names were fine (Modern English, despite being a Germanic language, is heavily Latinate in vocabulary) but some of the other names were so foreign to a modern English ear that it was difficult telling one from another and even distinguishing genders.Sadly, not recommended.
  • Rating: 5 out of 5 stars
    5/5
    I think this is an exceptional novel. The story is woven with facts and fiction. It’s based on real people in early 7th century England at king Edwin’s courts in Northumbria a couple of hundred years after the Roman Empire civilisation had left and just as the new Romans are coming in with their Christ god. This is the interregnum when the Angles, Saxons and Jutes came in to England and pushed the British Celts west and settled kingdoms of Saxons, Jutes and Angles. These new peoples sit up against the Britons/Celts in Wales and Scotland. Irish Christianity is lurking about but the principal gods are naturists with Woden being dominant.Hild, who is fictionally imagined here, is known to historians as Hilda of Whitby. The Venerable Bede in his 8th century history of England noted that as a child and youth, Hilda was an adviser to the king her cousin or great uncle. Bede was clearly impressed at the life of the woman and Nicola Griffith looks at the possibilities of Hild’s life from that of a child growing to about 22 through the nearly 600 page book which snakes around Edwin’s growth of kingship looping in other kingdoms to become Over King. The novel ends just before Edwin’s kingdom and his life ends in battles with a confederation of Welsh and Britons. Later, in known history as Hilda prioress of Whitby Abbey, Hild was a major player in issues of Church and state and played a pivotal role in aligning Catholicism in England to Rome rather than to Ireland, which had Greek leanings. It is probable that Hild was a precocious, prescient and unusually intelligent child. With her as the central player Nicola Grrifith explores the rhythms of life, the values, customs and beliefs of a part of England that she herself grew up in in the 20th century. The writer pairs two characters through the book, Hild principally, and also the boy Cian her childhood companion with whom Hild confides and comes to know the world as they grow. Cian is a fictionalised character and a very useful device for the writer given his guessed at birth father and his empathetic knowledge of Hild. We understand Hild not as some mythic witch and seer to the king, as the people about see her, and accept her as an intelligent person who has learnt to observe and read the natural world and the political ambitions of its people.A great amount of the novel is to do with the life and work of the women of the household of the king and, from time to time, the women of the house holds of lords and lesser men and down to the huts and hovels of the peasants and poor. As well as divining the patterns of nature it seems that Hild is adept at setting the patters to be woven in the cloth making rooms. Women weaving is a major task in this world and it is this that leads into Griffith’s major metaphor in her own woven story. The deftness of the weft (wic) in daily weaving ensuring the smoothing lines of weft is as daily live in the domain. However, of greater importance underlying all this is the warp of the fabric; the lines of long thread in the weave, their strength and necessity of the weights at the end of each warp line. This warp and the weights holding the line true are akin to the holding the line of belief in the fabric of life in this spot in 7th England. These are changing in this part of the world in history. As always and anywhere, the bulk of the people adhere within a social order to the extent of shared values and beliefs and most people accept a belief without exploring the myth or principle behind it. In this novel the principle of ‘belief’ is somewhat explored. The weights of the warp lines are going awry. There are a whole lot of gods floating about in the people’s minds – Woden principally – that determine the order of the way of life and the natural world. That order is being challenged; being undermined even. In a political power aligned marriage Edwin brings in a Roman Bishop and a bunch of evangelisers and through the novel we are part of the swirl as the power elite of the old ways are replaced by the problem elites of the Italian Christ god world – while always the rhythms of the natural world and human husbandry of it keep going on. We see the issue of ‘belief’, and the use of swaying people’s minds and loyalty, become a matter of the use of power, force and fear. There are Irish priest people too in the undergrowth and, as a child, Hild is blown away recognising the use and benefit of writing and an Irish priest is engaged to teach her writing but not about his Christ god. But the Roman Christ priests see the Irish Christ priests as spies to be expelled so what is believed in by the priests becomes less important than the male persons holding the influence of political and temporal power. The writer has researched her history and the way of life – the rhythms – of that period and rather than Hild being a magician seer, it is more that she notices things and can ‘read’ the natural world. The novel is great. The language used and its rhythms are akin to the world Hild lived in. it is quite poetic. It is not so much a page turner, not that it was hard to put down but it was always a pleasure to pick up.
  • Rating: 5 out of 5 stars
    5/5
    A truly excellent book.
    I’ve read everything by Nicola Griffith, so I’ve been looking forward to this release with quite a lot of anticipation. I have to say, the book isn’t really what I expected. However, neither was it disappointing – not even close!
    While Griffith’s previous work has been (excellent) science fiction and crime fiction, usually with a tense, quick-moving plot, ‘Hild’ is straight historical fiction. While there’s plenty of violence, the pace of the book is slow and deliberate, as we follow Hild as she grows from a precocious child to a remarkable young woman.
    It’s a very ‘full’ narrative – as one person I was chatting with said; it’s rare to see such a ‘complete’ portrait of a woman. There’s a lot here – the book discusses religion, relationships, ethics, and shows people as they are, rejoicing and grieving, self-serving and self-sacrificing.
    Reading the novel is an impressively immersive experience. Seventh-century Britain, here, comes to utterly convincing life. It’s clear that plenty of research went into the details of daily life, and, the characters living this life are complex, well-rounded, and believable. Always utterly human, while they are portrayed with all their flaws, you’ll miss them when the book eventually comes to a close.
    However, Griffith is currently working on a sequel – so you won’t have to miss them forever. (I was glad to hear it, because I was particularly looking forward to seeing a portrayal of Whitby – St. Hilda was the founding abbess there, and I’ve visited quite a few times – but in this volume, her character hasn’t arrived there yet.)
  • Rating: 4 out of 5 stars
    4/5
    A fascinating, compelling account of times in 7th. century Britain.
    Hild is a prophet who can predict what is to come in the future.
    Reminiscent of Cadfael in the story.
    Hope there is more to come.
    I was given a digital copy of this book by the publisher via Netgalley in return for an honest unbiased review.
  • Rating: 4 out of 5 stars
    4/5
    A remarkable story about a remarkable woman. This opening volume in a planned trilogy takes us through the early years of St. Hilda of Whitby. While most of the narrative is clearly made up by the author, it is also clearly grounded in an abundance of painstaking research. What Griffith has done here is to take the few known facts about a little-known figure from history, and fleshed out an intriguing character that resonates with personality and talent. Hild must have been a very special person. For a pre-teen girl in the 7th century to become adviser to her king is nothing short of incredible. Using her keen talent for observation and deduction, Hild 'predicts' the future and helps her uncle, King Edwin of Northumbria to become the overking of Brittania. She walks a lonely path as she grows up into a warrior-princess.What I liked best: Hild, as a character. She almost literally comes to life on the pages. When the reader gets to spend time in her head, the book really shines. Many other characters are also fully realized.What I found lacking: The convoluted familial relations were difficult to follow. There were times when family connections were integral to the plot but, for the most part, there was not enough clear explanation to bring those plot-points into sharp focus. The other issue I had was with the incredible level of detail about the surroundings... the weaving... the milking... the lighting... etc. At first, this really helped to create the world in which Hild lived. Toward the end of the book, it became somewhat redundant and I found myself wishing that Griffith would just stick to the story.I recommend this book to anyone that enjoys historical fiction and am likely to read the first sequel when it's released.
  • Rating: 5 out of 5 stars
    5/5
    This is a hard, gritty tale set in the very dark middle ages of 7th Century Great Britain. Hild survives because she has a talent for seeing threads and guessing outcomes. Ultimately though, she is merely a young woman trying to survive in a brutal world. Considered a weird anomaly, Hild struggles with all the same challenges that other people do growing up – but with the added pressure of being something of an outcast. Heroic and saintly, Hild shines. Note: this is historical fiction - not a fantasy.
  • Rating: 5 out of 5 stars
    5/5
    A very chewy solid read, I didn't want to stop. Very good author.
  • Rating: 4 out of 5 stars
    4/5
    A richly-textured novel set in seventh-century Britain. It takes some getting used to, since it's chock-ful of difficult vocabulary and language, but in the end it's very much worth the time. While the complex jargon makes the plot a bit difficult to follow at times, the world-building is well done, and the research that went into this book must have been prodigious.
  • Rating: 4 out of 5 stars
    4/5
    Hild is great. As someone who majored in history and religion in college, this take on the young life of the mysterious St. Hilda of Whitby was awesome. The tension between the Angle Paganism and the upstart faith Christianity is very satisfying and believable. The focus on everyday chores, the market, numismatics, textiles is great. Griffith did a lot of research on the political economy here. It's easy to see why Neal Stephenson gave this book high praise. It's also light on the romance, heavy on the violence, which is what one would reasonably expect if your reading about 610 AD Northumbria. This is my favorite period of English history. The Romans just left and all these half educated barbarians are looking around to see who would fill the power vacuum. In the midst of that, we have this young lady who somehow manages to gain one of the most prized positions of influence and she keeps it for a very long time. Historians don't know how she managed to do this, but it's recorded that she found herself in charge of an abbey and instructor to 5 male bishops. Griffith's novel lays out how that might have happened and it is not only believable but also entertaining and compelling. I am very much looking forward to the next installment which will hopefully cover her survival through King Edwin's death (Sorry for the spoilers, but every student of Bede knows that King Edwin was killed at the Battle of Hatfield Chase in 633.) I only wonder if it will have to be a trilogy or just a sequel.
  • Rating: 4 out of 5 stars
    4/5
    First off, this is a dreadful cover illustration. Hild was an Anglo-Saxon princess, not a warrior, and she didn't convert to Christianity until nearly the end of the novel.However, [Hild] is an intriguing historical novel about the childhood and adolescence of the woman who would become St. Hilda of Whitby.ALA Wikipedia: According to Bede, Hilda was born in 614, into the Deiran royal household. She was the second daughter of Hereric, nephew of Edwin of Northumbria, and his wife Breguswith.When Hilda was still an infant, her father was poisoned while in exile at the court of the British King of Elmet in what is now West Yorkshire. In 616 CE, Edwin killed the son of Aethelric, Aethefrith, in battle. He created the kingdom of Northumbria and took the throne. Hilda was brought up at King Edwin's court.In 625, the widowed Edwin married the Christian princess, Æthelburh of Kent, daughter of King Æthelberht of Kent and the Merovingian princess Bertha of Kent. As part of the marriage contract, Aethelburgh was allowed to continue her Roman Christian worship and was accompanied to Northumbria with her chaplain, Paulinus of York, a Roman monk sent to England in 601 to assist Augustine of Canterbury. Augustine's mission in England was based in Kent, and is referred to as the Gregorian mission after the pope who sent him. As queen, Æthelburh continued to practice her Christianity and no doubt influenced her husband's thinking as her mother Bertha had influenced her father.In 627 King Edwin was baptised on Easter Day, April 12, along with his entire court, which included the thirteen-year-old Hilda,[2] in a small wooden church hastily constructed for the occasion near the site of the present York Minster.In 633 Northumbria was overrun by the neighbouring pagan King of Mercia, at which time King Edwin fell in battle. Paulinus accompanied Hilda and Queen Ethelburga and her companions to the Queen's home in Kent. Queen Ethelburga founded a convent at Liming and it is assumed that Hilda remained with the Queen-Abbess. Hilda's elder sister, Hereswith, married Ethelric, brother of King Anna of East Anglia, who with all of his daughters became renowned for their saintly Christian virtues. Later, Hereswith became a nun at Chelles Abbey in Gaul (modern France). Bede resumes Hilda's story at a point when she was about to join her widowed sister at Chelles Abbey. At the age of 33, Hilda decided instead to answer the call of Bishop Aidan of Lindisfarne and returned to Northumbria to live as a nun. Griffith's novel reimagines Hild as a child whose wyrd is determined by her mother's dream that she would be "the light of the world." As she is brought into her king-uncle's court, she becomes his seer -- not on account of any other-worldly power, but because her powers of observation are unparalleled. Her mother's advice throughout her childhood are Hild learns well, and when crucial moments arise, she is ready.The novel is a facinating look into 7th c. England with its feuding Anglo-Saxon and British kingdoms. Hild is a well-developed character, as is her foster-brother Cian, who represents the warrior aspect of the society. As the novel ends, Edwin is at the height of his power. Obviously Griffith intends a sequel to follow Hild's transformation into Hilda of Whitby. I look forward to reading it.
  • Rating: 4 out of 5 stars
    4/5
    This is a lengthy work of historical fiction based on St. Hild, set in seventh century England. Some of the things that add to the quality of the book also made it difficult to read. Those things would include the attempt at using authentic language and names, and the political machinations of the time. I read this as a kindle e-book and it was extremely helpful to have X-ray view when a character showed up that hadn't been in the text for awhile, or whose name was very similar to that of another character. Also, the glossary is very helpful and was bookmarked early in my reading.The story tracks Hild's life from the time she is a toddler and her royal father is assassinated by poison until she becomes a young adult. Her mother is also of royal lineage and is very savvy in manipulating circumstances to her advantages. That skill is used in capitalizing on Hild's observational skills to maker her the king's "seer" at a very early age.The author indicates that her research has sparked her creativity and there will likely be more to follow on this time period.

Book preview

Hild - Nicola Griffith

1

THE CHILD’S WORLD CHANGED late one afternoon, though she didn’t know it. She lay at the edge of the hazel coppice, one cheek pressed to the moss that smelt of worm cast and the last of the sun, listening: to the wind in the elms, rushing away from the day, to the jackdaws changing their calls from Outward! Outward! to Home now! Home!, to the rustle of the last frightened shrews scuttling under the layers of leaf fall before the owls began their hunt. From far away came the indignant honking of geese as the goosegirl herded them back inside the wattle fence, and the child knew, in the wordless way that three-year-olds reckon time, that soon Onnen would come and find her and Cian and hurry them back.

Onnen, some leftwise cousin of Ceredig king, always hurried, but the child, Hild, did not. She liked the rhythm of her days: time alone (Cian didn’t count) and time by the fire listening to the murmur of British and Anglisc and even Irish. She liked time at the edges of things—the edge of the crowd, the edge of the pool, the edge of the wood—where all must pass but none quite belonged.

The jackdaw cries faded. The geese quieted. The wind cooled. She sat up.

Cian?

Cian, sitting cross-legged as a seven-year-old could and Hild as yet could not, looked up from the hazel switch he was stripping.

Where’s Onnen?

He swished his stick. I shall hit a tree, as the Gododdin once swung at the wicked Bryneich. But the elms’ sough and sigh was becoming a low roar in the rush of early evening, and she didn’t care about wicked war bands, defeated in the long ago by her Anglisc forefathers.

I want Onnen.

She’ll be along. Or perhaps I shall be the hero Morei, firing the furze, dying with red light flaring on the enamel of my armour, the rim of my shield.

I want Hereswith! If she couldn’t have Onnen, she would have her sister.

I could make a sword for you, too. You shall be Branwen.

I don’t want a sword. I want Onnen. I want Hereswith.

He sighed and stood. We’ll go now. If you’re frightened.

She frowned. She wasn’t frightened. She was three; she had her own shoes. Then she heard firm, tidy footsteps on the woodcutters’ path, and she laughed. Onnen!

But even as Cian’s mother came into view, Hild frowned again. Onnen was not hurrying. Indeed, Onnen took a moment to smooth her hair, and at that Hild and Cian stepped close together.

Onnen stopped before Hild.

Your father is dead.

Hild looked at Cian. He would know what this meant.

The prince is dead? he said.

Onnen looked from one to the other. You’ll not be wanting to call him prince now.

Far away a settling jackdaw cawed once.

Da is prince! He is!

He was. With a strong thumb, Onnen wiped a smear of dirt from Hild’s cheekbone. Little prickle, the lord Hereric was our prince, indeed. But he’ll not be back. And your troubles are just begun.

Troubles. Hild knew of troubles from songs.

We go to your lady mother—keep a quiet mouth and a bright mind, I know you’re able. And Cian, bide by me. The highfolk won’t need us in their business just now.

Cian swished at an imaginary foe. Highfolk, he said, in the same tone he said Feed the pigs! when Onnen told him to, but he also rubbed the furrow under his nose with his knuckle, as he did when he was trying not to cry.

Hild put her arms around him. They didn’t quite meet, but she squeezed as hard as she could. Trouble meant they had to listen, not fight.

And then they were wrapped about by Onnen’s arms, Onnen’s cloak, Onnen’s smell, wool and woman and toasted malt, and Hild knew she’d been brewing beer, and the afternoon was almost ordinary again.

Us, Cian said, and hugged Hild hard. We are us.

We are us, Hild repeated, though she wasn’t sure what he meant.

Cian nodded. He kept a protective arm around Hild but looked at his mother. Was it a wound?

It was not, but the rest we’ll chew on later, as we may. For now we get the bairn to her mam and stay away from the hall.

*   *   *

Caer Loid, at the heart of Elmet, wasn’t much of a hall. Hild knew this because when they’d first arrived in the rain months ago, her mother had sniffed her sniff-that-was-a-sigh. Breguswith had done that often in their exile among the kingdoms of the wealh, always as a prelude to driving Onnen and her other women to organise the temporary stop into a reflection of home while she set out her cases of whorls and spindles and tucked her distaff in her belt. At these times, Hild and Hereswith must creep like mice, and the score of sworn warrior gesiths who remained would get more magnificent baldrics for their swords, gold thread in the tablet weave at cuff and hem, even embroidered work along the sleeves. They must look proud and bright and well provided for, that all would know who they were, where they came from, and to where they might still ascend in service of the lady Breguswith and Hereric, her lord, should-be king of Deira.

Hild recalled no sights or sounds of Deira, the standard against which all was compared, the long-left home. She had vague memories of sun on plums, others of a high place of lowing cattle and bitter wind, of ships and wagons and the crook of her father’s arm as he rode, but she knew none of them were home, could be home. Æthelfrith Iding, Anglisc king of Bernicia, had driven them out before she and her sister were born. She recognised people who might be from that long-lost home when they galloped in on foundering horses or slipped through the enclosure fence during the dark of the moon. She knew them by their thick woven cloaks, their hanging hair and beards, and their Anglisc voices: words drumming like apples spilt over wooden boards, round, rich, stirring. Like her father’s words, and her mother’s, and her sister’s. Utterly unlike Onnen’s otter-swift British or the dark liquid gleam of Irish. Hild spoke each to each. Apples to apples, otter to otter, gleam to gleam, though only when her mother wasn’t there. Never stoop to wealh speech, her mother said, not even British, not even with Onnen. Never trust wealh, especially those shaved priestly spies.

*   *   *

From the byre came the rolling whicker-whinny of horses getting to know each other. At least two new voices. Hild clutched harder at Onnen’s hand and Onnen shook her slightly: Quiet mouth, bright mind!

The riders, two men, were with Ceredig king and the lady Breguswith in the hall. The room was smoky and hot, like all British dwellings—the peat in the great central pit was burning high, though it was not yet cold outside—but still the smell of travel, of horse, was clearly on the men, and their bright, checked cloaks were much muddied at hem and seat. Breguswith, distaff tucked under her left arm, rolling her fine-yarn spindle down her thigh with her right, stared absently at the fire, though Hild knew even as her mother’s fingers were busy, busy, busy teasing out the yarn, testing its tension, her attention was focused on Ceredig king, who laughed and leaned from his stool and let firelight wink on the thick torc around his neck.

Onnen pushed Hild forward. The visitors, both slight, with magnificent moustaches and the air of brothers, turned.

Ah, said the taller one in British. Strange British, from the west. You have your father’s hair.

Yffing chestnut, her mother called it. And her outside one big prickliness like a chestnut, too, said Onnen. Or a hedgepig, said her mother, and they would laugh. No one was laughing now but Ceredig, and it was his laugh-because-I-am-king laugh, the one for important visitors, to show ease in his own hall. Everything a king does is a lie, Onnen said.

And then the stranger looked beyond Hild. And who’s this?

Hild twisted to look. Cian had followed her into the firelight, ready to snatch her back, as he’d done in spring, when the ram had charged as she got too near.

He is nobody, said her mother, in Anglisc. My woman’s boy. And as she turned—with that long, careless grace that made men look, made the strangers look—Onnen put her arm around Cian and tugged him gently back into the shadow. But this visitor was quicker than most.

Wait, he said. You. He crooked his finger, and Onnen and Cian stepped back into the light. Your name?

Onnen, lord.

And this is your son?

He is, lord.

And yourself, Onnen, you were born here?

Indeed, lord. Six and twenty years since. She stood a little prouder. I am cousin to Ceredig king.

You’re all cousins in this benighted wood, said the second stranger, but he was already turning away and beckoning for the first to do likewise. And Hild understood that although her mother and Onnen had told nothing but the truth, the visitors had been fed an essential lie.

Quiet mouth, bright mind.

Edwin Snakebeard will come to avenge Hereric Yffing’s death, the stranger was saying to Ceredig.

Of course he’ll come. He’ll come from the south with Rædwald’s war band to claim Deira and lay his rival kinsman’s death at my door. The excuse he’s looked for. Or made.

Onnen tried to herd Hild away, but Hild rooted herself to the floor, the way puppies turned limp and heavy when she tried to pick them up.

Ceredig was still talking … this hall is burnt about my head, will there be a place for me with the king of Gwynedd?

The stranger shrugged: maybe yes, maybe no.

So. I’ll fight, then. As I must. And make for Cadfan of Gwynedd an excuse, in his turn, to swarm north with fire and sword against the Anglisc. But tell you, Marro, to Cadfan king, aye and young Cadwallon, that one day he’ll have to face this serpent, this king-killer, in the open. Tell him that.

Marro said, I will tell him.

Gwynedd, Hild thought. Marro. Cadwallon.

Her mother was looking at her. Hild, go with Onnen now, to your sister. Comfort Hereswith for me. And Hild’s mind closed seamlessly over the names as though they’d never been.

*   *   *

Hereswith was eight. She had their mother’s hair, the colour of linden honey, and their mother’s round, pretty face—usually. Tonight, when Onnen pulled aside the embroidered curtain, Hereswith fell on her, weeping, babbling in a mix of Anglisc and British: What would happen now? Where would they go? Had it hurt when their father died? Would they starve? Where was their mother?

Seeing Hereswith weep started a tickle deep in Hild’s chest, and then her nose ran, and then she howled as Onnen unfastened her cyrtel and tucked her next to Hereswith on the horsehair and sweet-gale mattress, promised them warm milk, and stroked her chestnut hair. Her dead, dead da’s hair.

Hild shut it out, imagined she could hear nothing but the wind in the elms, blowing where it would, a soft roar under the moon.

She woke to Hereswith’s slow, steady breaths beside her and her mother’s murmur above. She kept her eyes tightly closed.

… can’t flee to Frankia, not with the storm season almost on us.

The Hwicce might take us in, Onnen said. They took Osric. And he’s ætheling.

Only a cousin. And soon enough he’ll be riding to Deira to show Edwin Usurper his belly and kiss his ring.

Like the whole isle.

Like the whole isle. A faint click as Breguswith slipped her fine-work whorl off her spindle and laid it on the ivory-inlaid casket that held her treasures. Ah, Onnen, Onnen. He was to be king. Not poisoned like a dog. And Hild knew they were talking now of her father.

We are alone in this world, Onnen said.

Faint rattle as her mother unfastened her girdle and hung it carefully on the hook driven into the wall post for that purpose. Hild imagined the hanging things one by one: the knife in its woven sheath, the seeing crystal, the needle case, the fire steel and tinderbox, the purse with chalk and thread and spare hairpin …

She woke again when her mother said in her voice of iron, We will go to Edwin. He has won.

Hild felt a light touch on her hair but willed herself still and copied Hereswith’s breath: in and out, in and out. Her mother smelt of smoke and heather beer.

As king his nieces will be valuable to him.

Your dream?

My dream.

She’s so young—

She’s Yffing. Needs must. She’ll be ready. They both will. In their different ways. And then the touch of the hand on her hair was gone and Hild heard the faint tck of her mother unpinning her hair, followed by the two women moving about the room, and the hff of the rush light blown out.

Hereswith inched closer to Hild, whispered fiercely in her ear, That stupid dream—the light of the world! Ha! That was when she still thought you might come out a boy!

*   *   *

The next day Hild could eat nothing, waiting for this usurping uncle, this Edwin, to come. But no one came; it was a day like any other but for two things. First, when the time came to wash and then rinse all three children’s hair, Onnen added oak gall to the rinse water for Cian’s turn.

You rinse mine with vinegar, Hild said, peering at the tub of black water, talking as much to distract herself from her misery as anything else. She hated the washing and rinsing of hair. No matter how she tried, there was always water down her neck. And no matter how warm the water was at the beginning, by the time it wormed between her shoulder blades, it was cold.

And mine, Hereswith said. For the smell and the shine, you said. Why can’t we have oak gall, too?

Because it would make your pretty honey hair dark.

Daddy called me honey. But not Hild. She doesn’t have honey hair.

What makes your hair and Hild’s hair shine, and what makes Cian’s shine is different. His hair is different.

But it wasn’t, Hild thought, it wasn’t. Her hair and Cian’s were even the same colour. Or had been, before the oak gall.

And then, while they were shivering like wet rats, Inis, the king’s man, came by. You’re wanted, he said to Onnen. You and the boy both.

Onnen took all three of them, because wet unhappy children had a tendency to quarrel when unminded.

The middle fire in hall was burning bright, and Ceredig king wore his ceremonial wolfskin cloak and most splendid torc, though there was no one else there but two housefolk standing by the wall.

Onnen and the three children paused just inside the doorway.

Come, the king said, and Onnen gathered Cian under one arm and Hereswith under the other, and approached. Hild walked alongside Cian, her hand in his belt, as she’d been taught. She was nervous because Onnen was nervous, but also curious.

So, cousin, you’ve done a fine job by these young ones these years. But a boy needs a father.

I don’t know his father. I was prettier then, and not minded to keep track. As you yourself know. Cousin.

He smiled and turned away momentarily to bend and lift something from beneath his bench. Hild couldn’t see what it was but Cian obviously could: the damp tunic stretched between his shoulder blades quivered as his heart began to hammer.

The king held out a small oak sword with a finely carved painted hilt and a little wicker shield. Well, come here, boy.

Onnen let go of him, as did Hild, who thought he might topple where he stood, but after a moment he managed to walk to the king.

You’re a year yet from weapons training, but who knows where we’ll all be a year from today. A boy needs a sword, and you’ve no father to give it. Hold out your left arm. The king slid the new shield straps—Hild could smell the stink of tanning still on the leather—up the boy’s arm. Grip the— Ah, you’ve the right of it already, I see. Cian’s whole arm tightened as he squeezed the bar behind the boss of the little shield. And now the other. The king put the sword hilt in his right hand. He smiled and said, looking at Onnen, Don’t stab your—those girls’ eyes out, or your mother will have my hide. Then he turned away, and Hild realised to her astonishment that it was because Onnen was weeping.

Come, Onnen said eventually, in a voice Hild hardly knew. Come. Quick, quick. The king has spent enough time over three wet-headed children. And she gathered them to her and they left.

They walked in silence past the grain house, and suddenly Cian stopped, and shouted, and banged his shield with his sword. I have a sword!

You have a shield, Onnen said. Wherever you go.

A sword given to his hand by a king: a shield and a path.

*   *   *

Autumn blew, leaves fell, flames flickered, and in hall song turned to war. Hereswith refused to speak anything but Anglisc, and Breguswith—when she wasn’t teaching Hild that while one jay was bad luck two meant not double but opposite—was at the side of Burgræd, her chief gesith, talking persuasively, talking, talking. Most of their other gesiths already slept and drank with Ceredig’s men.

Your lord is dead and your oath with him, Breguswith said to Burgræd one dark afternoon as Hild half drowsed at Onnen’s hip, lulled by the repetitive twist-twirl of spinning. He left only the girls, no æthelings whose honour you can fight for. And perhaps swearing your sword and honour to Ceredig now seems to you worthy. He is a king. But even as this peat burns Edwin retakes Deira. Before the frost he’ll be secure and he’ll turn to Elmet. He will crush it. Ceredig can no more stand against him than a leaf can defy winter. She leaned back, the very picture of ease and Anglisc wealth with her smooth honey hair, fine-draped dress, and gold winking at throat and wrist. No doubt there will be much glorious death. She looked over at his stripling son playing knucklebones with Ceredig’s men. Though not Ceredig’s.

Burgræd, a stocky man with grey streaks on either side of his mouth and one cheekbone higher than the other, ran a callused finger around the rim of his cup and said nothing.

You will die for him, for you’ll keep your oath. You’re Anglisc. But would he die for you? How much is a wealh oath worth?

She took his cup and poured him ale, and as she took up her own she glanced about the hall. Hild shut her eyes tightly. Even at three, she understood the danger of overhearing a hint that a king in his own hall was an oath-breaker: Never say the dangerous thing aloud.

They sipped. A servingman laid more peat on the fire; it hissed. When he had gone, her mother said, more softly than before, Know this. We will leave this wood before Edwin king falls on Ceredig. We’ll go to him in Deira. In time my daughters will rise high in Edwin’s favour. You could rise with us. And you wouldn’t be sworn to a gesith’s oath. You could take it back anytime.

After Burgræd left, her mother bent down and whispered, Quiet mouth, bright mind, little prickle.

For a while it seemed nothing would change. Cian wouldn’t walk anywhere without his wooden sword and wicker shield, and he became tedious, issuing challenges to vicious branches or charging without notice at a shelf of mushrooms growing from a sickly birch. It made Hild’s time at the edges of things less than easy. How could she be still and listen and watch when Cian’s yell made the rooks croak and fly away or the deer bound into the undergrowth? How could she study an old dog fox who sat in the thin morning sunlight to comb his chest hair with his tongue, if he ducked into his run when Cian rolled and tumbled with invisible enemies in the leaves?

She helped Onnen collect eggs and was proud to break not a one, and tried to help gather hazelnuts with everyone else, though she had to be carried when the walking grew too much. She sat with Hereswith as her mother explained the sunwise and widdershins twist of spinning yarn and how by mixing the two you could make spin-patterned cloth. In the shadowy hall she listened to the cool clicking tiles of wealh bishops’ Latin and to old Ywain, when he was well, play the harp. She liked the sound of the old man’s voice as he warmed it to himself, then of the men setting aside their weapons, the thunk of heavy hilts laid down on the boards, and the bronze-and-gold sound of the strings. Hereswith said at home all Anglisc men took turns with the lyre, but Hild knew that was silly. How could warriors with their burst voices sing like Ywain? Besides, their real home had been overrun by Æthelfrith Iding’s war band before Hereswith had been born, and now the Idings were being driven out in turn by Edwin.

And then Hild would remember her father was dead and now she never would have a home, and she would hum along with Ywain’s heroic song and try to make her breastbone buzz the way she was sure Ywain’s did when he sang "Calan hyddrev, tymp dydd yn edwi / Cynhwrv yn ebyr, llyr yn llenwii: The beginning of October, the falling off of the day / Tumult in the river mouth, filling up the shore." Tumult in the river mouth, she sang to herself, tumult in the river mouth.

*   *   *

And at the next new moon as the wind whipped there was tumult in the dark: tumult as someone bundled Hild in a cloak and carried her, tumult as Cian and Hereswith, Onnen and Breguswith, the gesiths—so few!—and their slaves boarded a boat. Tumult during the days as they beat north in the driving rain, the sea roaring like the elms in autumn. Tumult then at the river mouth, and at the dock far up the wide, wide river.

Torches hissed and fluttered and Hild was more or less asleep when she was carried down the gangplank, but she still saw the rich trappings of the horses there, and the gleam of jewelled hilts and brooches clasped at cloak necks. And she woke fully when an apple voice, so firm and round as to be almost scented, said, Lady Breguswith, Edwin king welcomes you home.

2

IN SOME WAYS, Hild’s new life was not so different. Her days, the court’s days, were ones of constant movement from royal vill to royal vill: Bebbanburg in the lean months for the safety of the rock walls and the cold grey sea, and Yeavering at the end of spring, when the cattle ate sweet new grass and the milk flowed rich with fat. Then south to the old emperor’s wall, to the small towns built of stone, and a day at Osric’s great house in Tinamutha, and a boat down the coast to that wide river mouth, wide as a sea, and up the river to Brough in early summer, and then, sometimes, Sancton, and always to Goodmanham’s slow river valley at summer’s height—the rolling wolds crimson with flowers, the skeps heavy with honey, and the fields waving with grain. Then the twenty-mile journey to York, with its strong walls, its river roads for carrying the last of the sweet apples and the first of the pears, and its high towers in case of bitter war, winter war.

The king and his court spent a month here, a two-month there, eating their way through the local offerings, levying and taking tribute, listening to local troubles and rendering judgement.

But why? Hild said when they had to pack up and leave Sancton, again, just as she’d got to know the rooks in the beech spinney and the frogs by the south pond, and one particularly fine old hornbeam whose bent boughs even she could climb. She watched her mother and Onnen folding dresses and rolling hose, and threw her own box of treasures on the floor. I don’t want to!

Her mother’s irises, pale blue as forget-me-nots under unseasonable frost, tightened, though her voice stayed even. You will pick those up.

No.

Very well. Then we’ll leave you—

I’m the light of the world!

—and when we’re gone the wolves will come, and the foxes, and the wights.

Hild wasn’t afraid of foxes, perhaps not even of wolves, not in summer when they were well fed. But wights …

Her mother was nodding. They will breathe on your face as you sleep and you will be trapped in a cold dream forever and ever and ever.

Hild picked up her box, began searching for her treasures—the wooden brooch Cian had carved and painted for her, the shark’s tooth Hereswith had given to her last Yule, her magic pebble that fit just right in her hand. She frowned. The pebble seemed smaller than it had.

But why? she said.

Why what?

Why do we move all the time?

It’s how it is.

But why?

Because otherwise we’d eat ourselves out of house and home.

Hild pondered that. When Fa was ætheling, we didn’t send all the gallopers first.

An ætheling is one of many, a maybe-king, Breguswith said. Your uncle is the one king. He travels with five hundred people. The king can’t just pack a loaf and a sack of salt and head for the horizon. He must first send a message to his reeves: How was the harvest? How are the roads—and the wood supply? Where is the honey flowing, where are the royal women needed for the weaving, where do bandits need to be warned away, and where is the hunting good? Then he must gather food and other supplies for the journey. And then his galloper rides ahead—tells the vill steward to begin brewing beer, slaughtering cattle, strewing rushes. Only then may we travel.

And when we get there, Onnen said, we eat them out of house and home and move on.

Hild set her pebble aside. It was just a pebble. But why can’t we stay? Why can’t Uncle Edwin have a home like everyone else?

The whole land is his home.

Yes, but why?

He must be seen.

Yes, but—

And he can’t simply have a steward on each estate sending him tribute. Because a steward, unless reminded by the presence of the king, begins to think himself a thegn. He begins to see the land as his, to wonder why he shouldn’t send only a portion of his food, his ale, his honey, to the king. The revolt always begins when the steward wants to be king. A lesson the Franks never seem to learn.

But Hild was no longer listening. She was playing with her special pinecone, remembering the tufty red squirrel she had frightened away the day she found it.

*   *   *

Every summer Edwin took war on the road with his war band, tenscore gesiths, sworn to death or glory, and their men, their horses and wagons, a few handfuls of shared women. They were always back before autumn, weighed down, depending on the war, with Anglisc arm rings and great gaudy brooches, British daggers with chased silver hilts—though the blades were no match for Anglisc or Frankish work—or strange heavy coin, and they would wind themselves about with boasts and intricate inlaid sword belts. And always by the end of summer there was a double handful more of big-voiced, hard-chested men glittering with gold. Not all were Anglisc, but they drank and shouted and boasted alike. Hild’s mother told her to stay out of their way. Our time is not yet come. For now we live like mice in the byre. Everyone knows we’re here, but we’re not worth attention. Quiet mouth, bright mind.

Breguswith taught her the gathering and drying of herbs, and began to spirit Hereswith away for mysterious lessons that, when her sister tried to share them with Hild, made no sense.

They were sitting with a tablet weave—the simple band weaving that would do for a border on a neck or cuff—and Hild was telling Hereswith about how swallows never came until the white butterflies born from colewort were outnumbered by the black-and-red jewel-winged kind.

Beat the weft, Hereswith said.

But I beat it just after I turned, Hild said. It’ll spoil the pattern.

Do as I say. I’m older.

And Hild, because Hereswith had that sulky look that meant she was unhappy, tapped the cross threads down to lie more densely across the warp threads. She smiled tentatively at her sister, who said, Ma says there are different ways to smile at people.

How—

Hereswith overrode her. If the king notices me, I do this. She straightened her spine and smiled a proud, glad smile that shocked Hild. Try it.

Hild shook her head.

Try it.

No. I’m not happy.

Hereswith laughed. That doesn’t matter! Well, never mind, I expect you’re too young to understand. She turned the tablet.

Hild beat the weft. The pattern was already spoilt. She might as well please her sister.

Hereswith nodded. Good. And this, too: If you think you’re going to smile at a gesith’s boast, you must let your hair fall to hide your face. Like this.

I know that one! Hild remembered her mother’s words exactly—the light of the world must remember everything. She repeated them proudly: Men are afraid women will laugh at them. Women are afraid men will kill them.

Hereswith blinked. Her face curdled. She leaned forward, punched Hild in the arm, and burst into tears. I hate you! She flung the tablet weave to the dirt and fled.

Hild picked up the weave, mystified. What was all that about? She would ask her mother. Or maybe not. Lately whenever she put a question to Breguswith she got answers that made no sense—if she got answers at all. Where do swallows go in winter? had merited a pause in the grinding of herbs, followed by a question in turn: Winters are uneasy times. Why does the king hold feasts at Yule?

Because it makes people happy?

A king doesn’t care if the folk are happy. He cares that they think him strong. Pass me the bitterwort.

Hild passed the bitterwort. She thought about winter, and home, and strength in one’s own hall. Oh, she said. Stronger than anyone else. Like not having a steward who stays in the vill. It came out wrong, but she knew what she meant.

So did her mother; she always knew the words Hild couldn’t find. She smiled but said only, This root was pulled too early. Bitterwort is best harvested in autumn.

*   *   *

Hild grew taller. Her milk teeth loosened. Now she could cross her legs and balance on her hands, and she could name all the king’s hounds and all his horses. She had worked her first perfect tablet weaving, and she remembered enough of the names of the heroes of Gododdin to argue with Cian when he named them as they fell under his wooden sword. Sometimes Hild worked alongside him, exercising with a rock in each hand, as boys who hoped to be king’s gesiths must. Sometimes she swung a stick sword; she had learnt long since that it made him happy for her to pretend to be Branwen the Bold, just as it made her happy for him to be still when she was watching and listening. They remembered: We are us.

But she could climb now, and sometimes when Cian wanted to play hero and she did not, she ran to a tree—she had favourites in every place—and climbed up among the leaves and stayed silent as he called. And if Onnen wanted to wash her hair and the weather was foul, there was a rooftree and its sloping rafters to clamber to. No one ever looked up, not even her mother. This was her secret. But she liked trees best. Hidden in the leafy canopy, sometimes she stayed so still and quiet even the birds forgot she was there.

Like today, a hot day for late spring, bright but sullen. It would rain later. Meanwhile, it was cooler inside the leafy hideaway of a pollarded ash drowsing by a woodcutter’s trail. She settled comfortably against the fissured bark and watched dumpy little siffsaffs hop from their half-built nests among the nettles and peck about in the leaf rubbish for soft stuff to line the nest.

She sat there, breathing the cool leafy air, so still that a sparrow hawk, intent on the siffsaffs beneath, landed on a bough by her face and turned its marigold eyes to hers. They regarded each other for an age. It blinked, blinked again, then tipped forward from its hidden perch, flapped, and vanished into the trees on the other side of the trail.

The court left Sancton before the siffsaff eggs hatched. Hild hoped the sparrow hawk wouldn’t eat them.

*   *   *

The summer’s war had ended early and the household was at Goodmanham. Hild was six years old—tall, strong-faced (All bone, her mother said, like your father)—when one hot day her mother took Hereswith away and when she came back she wore a small girdle with various cases and boxes attached. She showed them to Hild one at a time. She was to get her own pin beater from Queen Cwenburh, the edgeless sword of some long-dead ætheling. She was to help the other women in the weaving hut. And wasn’t this gilded needle the very picture of beauty? The queen’s own cousin was to be her gemæcce: one to weave and weep with forever.

Hereswith looked happy, and Hild was glad for her—at last her sister had something of her own, something to compare to being dreamt of while in the womb. Then Hild grew even happier when she realised that all the women, including her mother and Onnen, would be so busy fussing over Hereswith that she and Cian might now find time to sneak away to the bottomland at the foot of the sacred hill south of the vill.

The bottomland, unlike most of the wolds, with its chalky soil, was dark and damp. Hild led them through an old wide dike full now of a tangle of oaks and holly and thorny crabapple, then over the bank mostly hidden by fern—Cian had to push the wooden sword through his belt, despite the imminent threat of marauding armies, and use his hands to scramble up—to the boggy dell with its quiet pool and the mossy boulder by the shallow end where the sun showed the muddy bottom. All she heard was a blackbird, far away, and the burble of the spring. She wondered where the water came from. She wondered this in British, the language of wild and secret places.

I don’t like this place, Cian said, and he spoke, too, in British, their preferred way when alone. It smells of wood ælfs, and there’s no room to swing a sword. He then proved himself a liar by pulling his sword free and lunging at an invisible opponent. It occurred to Hild that both Hereswith and Cian now had their paths. She had only her mother’s dream. I shall make you a sword, Cian said, and we shall continue our fight in the gash. He pointed to the fallen alder which, from long experience of these matters, Hild understood to be, in his mind, the top of the banked war ditch.

She did not sigh, though she disliked the trench-warfare game. It meant the firing of the furze, which meant many pauses while Cian waved imaginary firebrands and tested the imaginary wind.

Make me a spear instead, and you can be the hero Morei while I play the great oaf on the top poking at you and soon to be raven food.

That way she could stay on the water side and, during the brand-waving and wind-testing, she might study the pool and all the little things that came to its edges. Besides, he would have to go all the way back to the oaks for a long, strong limb.

While he was gone she settled back against her boulder and closed her eyes. If it were night she would smell the perfume of bog myrtle, which her mother called sweet gale. At night, wood mice would sit atop the fallen tree, wiping dew from their whiskers in the moonlight. At night, she might see the water sprites she was sure lived here. Meanwhile, she worried with her tongue at her front tooth, which hung by a thread.

Soon enough Cian had her spear. A fallen ash branch, thicker than her wrist, with a pronounced bend. Cian grinned and said, Oh, I’ll slaughter a score of you spear wielders! Close your eyes now! and leapt away. Hild sang the agreed-upon three verses—Adorned with his wreath the chief … adorned with his wreath the leader … adorned with his wreath the bright warrior—then she parted a fern on the alder and peered down. Silent. Still.

A cream-striped caterpillar humped its slow way over the mossy bark. Hild picked it up and looked for a place to put it safely out of the way of the coming battle.

In the end she chose the base of the bird cherry at the rocky end of the pool. It was old, for a cherry, with that odd, gnarled look of such trees that weren’t likely to reach the age of oaks and elms. With the haft of her bent spear she poked at the soil by the root. It was lighter and drier than the soil by the other end of the pool. She poked a little more. Her shoulder jostled her tooth.

What are you doing? Cian, standing on the fallen alder, looking sweaty and cross. How can you abandon your post to dig?

Hild, whose tooth hurt, spoke crossly in her turn. How can you play the same game over and over?

It’s not a game! Cian’s face pinked. His eyebrows, she saw, did not match his hair. What are you doing that is so important?

Hild, feeling perverse for no reason she could name but that she was sick of playing war, said, I am digging with this stick.

"It’s a spear."

It’s a stick. And she stroked deliberately at the great kink in the wood, then pushed the blunt tip into her palm and showed him: no blood.

He rubbed his lip with his knuckle. When we fight as heroes, it’s a spear.

Please, his eyes said, please.

And just like that she didn’t want to hurt him anymore; she wasn’t sure why she had, only that she, too, wanted to say, Please, please. She settled on her hams by the root she’d been poking at.

I’m following the root to see if Eochaid the slave is right and there is a rainbow at the tip, or if my mother has the right of it, and at the centre is the root of the world tree and the one-eyed god.

You’re forever finding things out.

I’m the light of the world.

Finding out the how and the why of things is for gossips and priests, he said, not so much scornful as puzzled, not by the fact that she did it—she had always done it—but that they should be talking about it.

Gossips and priests, yes, but also artisans and kings, she said. And was Morei not familiar with the ways of fire?

True, Cian said, craning for a better view.

And, indeed, heroes of old sometimes had need to bury their hoard.

He scrambled over the fallen tree and landed next to her. I will help.

He found himself a stick—his sword was a sword only—and they dug, the sun warm on their backs.

It goes ever down, he said after a while.

We will dig more tomorrow.

He stood and stretched, said to the horizon, And now will you be a hero with me and take the wall, shoulder to shoulder?

Am I to be Branwen again? And she couldn’t help the sigh in her voice.

Be who you like, he said, ever the generous lord. You choose.

Owein, she said. His sword was blue and gleaming, his spurs all of gold—

No, I am Owein. I am always Owein.

Then I will be Gwvrling the Giant: He drank transparent wine, with a battle-taunting purpose; the reapers sang of war, of war with shining wing, the minstrels sang of war— She spat out her tooth. It lay white and red on the turf at her feet. They stared at it.

Hild bent and picked it up. Her tooth, from her mouth.

Soon you will grow another, and stronger.

She nodded.

You must put it in your belt, or a sorcerer could steal it for a spell.

She pushed it into her sash.

You are bleeding.

She wiped her mouth with her hand. A tiny, bright smear.

Bright was the blood, she said, the next part of the verse of Gwvrling the Giant.

And bright was the horn in the hall of Eiddin! Cian said, relieved. He held out his digging stick. Gwvrling must have a sword. Come!

And they scrambled over the tree trunk and swung their swords at invisible foes together: Y rhag meiwedd, y rhag mawredd, y rhag madiedd—in the van are the warlike, in the van are the noble, in the van are the good.

As usual, after a while they found it more exciting to swing at each other, and, as usual, Hild got hit more often because Cian’s reach was greater than hers, his sword longer, and he had a shield.

After one particularly hard smack at her shoulder, Hild jumped back. Let us swap arms for a while.

She had never dared ask before, but today she had bled, like a real Yffing. Cian considered, then held out his sword for Hild’s stick and slid the shield from his arm.

They leapt together again, and Hild found that taking a blow to a shield was a much finer thing than a blow to the ribs. She hacked with enthusiasm.

Swap back now, Cian said, panting a little.

Just a while longer.

I want it. It’s mine.

Hild didn’t want to give them up, and the wanting turned her mind smooth and hard as a shield wall. It is yours, absolutely and only yours, given from the hand of Ceredig king. No one of this earth could dispute it. I do not dispute it. I ask for your great favour, a hero’s generosity.

Cian blinked.

And as we fight you may think secretly to yourself, Those arms are mine, I have but to say the word and they are in my hand again, I have the power to take them back anytime, anytime.

He rose up on his toes, and back down, thinking. Anytime?

Anytime.

It is mine?

It is yours. That is your secret power. Holding secrets, her mother said, made a man feel mighty.

Well, then. You may keep the shield for a time. He lifted his stick and charged. They battled for a while.

Once again, Hild stepped back. Now here, back to you, are your sword and shield.

And he took them, returned her stick, and smiled. These are mine. But you shall borrow them again. Tomorrow. Tomorrow when we come back to dig your hole.

She nodded.

It’s hot, he said.

They sat by the pool. Hild slid her stick in and out of the water. The cherry leaves whispered in a slight breeze.

You like the water.

I do. She laid the stick aside and watched a waterbug dimple the surface and skate across it.

And you’re not afraid of the sidsa?

Her mother’s word for sorcery or witchcraft, not the immanence, the wild magic of these hidden places—there was no Anglisc word for that. Sprites live in rivers and springs, and are not to be meddled with, Onnen said. I’m not afraid. She was the light of the world. Besides, her mother said it was still water that was bad. She frowned slightly, as Breguswith did, and said, in Anglisc, Still water is not to be trusted. It shines and it gleams, but is not what it seems.

They both giggled. It shines and it gleams, but is not what it seems.

And yet it is so … magic, Hild said, in British. Watch. And she slid her stick in again at an angle. See how the water breaks it?

I do!

And yet when I pull it out, it is whole. She slid the stick in and out, in and out. Whole, broken, whole, broken. What spirit breaks and remakes? Or is it only a glamour? Now, listen. The cherry leaves whispered again, and again more strongly as air moved over them and the pool. Feel the breath of it? Now look you down there. The mud seems rippled, does it not?

It does.

Yet it is not.

It is too. I can see it.

Then put your hand to the bottom.

The sprite will eat me if I disturb her magic.

She will not. I will give her an offering. She drew her tooth from her sash and threw it into the pool. The soft silty mud closed over it and it was gone.

You have given yourself to the sprite!

I have offered my tooth, of which I’ll soon have more. But she touched her tongue to the raw place on her gum and hoped the new tooth wouldn’t belong to the sprite, hoped it didn’t mean she would drown one day when the sprite reclaimed what was hers. Put your hand to the bottom.

He rolled up his shirt sleeve. Slid it gingerly into the water.

Now lay your palm on the bottom. And tell me, is it rippled?

It is smooth. He patted the muddy bottom, sending up a swirl of brown. Hild had a sudden fear he would find her tooth and bring it out.

Gently, gently. You may take your arm out now. She lifted her face to the sky. The wind had died once more. The beast begins to sleep again, and so forgets to weave its spell. See you now, the sand is smooth in appearance as well as fact. It is only when the water sprite breathes that it casts its veil on our eyes.

Cian rubbed his arm dry on the turf, then on his tunic. Tomorrow you shall show me more magic.

Tomorrow I shall show you the great frog who swallowed the heart of a hægtes.

*   *   *

But the next day the Goodmanham steward declared it an auspicious time to harvest the rest of the flax—the base of the stems had turned yellow—and every able-bodied member of the community, young and old, was drafted, even the visiting thegns Wilgar and Trumwine. Men pulled the plants whole from the ground; housefolk, mostly wealh, gathered and tied the stems into bundles, then leaned them into stacks to dry. They laid cloth on the ground and shook the already dried bundles until seed rattled out; children carefully folded the cloth and carried it to the women who funnelled the tiny golden-brown seeds into jars and sent the cloth back to be laid again; at which point other wealh pulled the bundled stems through the coarse-toothed ripples set like arrowheads into posts to pull free the empty seedpods. It was thirsty, scratchy work; the children, highfolk and urchins alike, ran to and fro with jars of gruit—heather beer.

From the resinous scent of it, it was her mother’s special batch, heavy with sweet gale, which Hild already knew would lead to loud laughter and the energy to work all day. Many of the women did not drink and sent her instead with empty jars to the river.

*   *   *

Her mother scooped out three fingers of salve, handed the pot to Hild, and warmed the greasy stuff between her palms. When she worked it into Wilgar’s back, Hild thought he looked like a bristly black hog smeared with lard before going on the spit. She put the pot at the end of the bench out of the sun and watched her mother kneading the slablike muscles, pushing into his fat with her thumbs, running along lines of sinew like a saddlemaker pushing the needle through thick leather.

Crops must have been good the last two years, Breguswith said to him as he groaned with pleasure. You’re plump as a prime bullock.

He agreed that the gods had been kind and the weather favourable. They talked for a while about the crop in his valley to the north and his farmers, and after a while she slapped him on the arm and handed him his warrior jacket.

Wilgar eased the jacket back on, squinting against the late-afternoon sun. He twisted this way and that. It feels better. He sounded surprised.

You’ll do, Breguswith said.

They watched him head back to the hall and brace himself for Trumwine’s punch in the shoulder in the doorway.

Breguswith said, The man is getting fat, in the kind of voice that meant she was thinking more than she was saying.

Hild looked in the pot. Will there be enough left for the women?

Breguswith wiped her hands on her apron. Do you see any women?

There were only housefolk hurrying with yokes of beer buckets and platters of bread to the hall. She shook her head.

Why you suppose that is?

She pondered. Because girls don’t show off?

Breguswith huffed in amusement, sat on the bench, and wiped now at her forearms. You’re not wholly wrong, but there’s more. Men’s arms are stronger than ours. That strength is their weakness. They forget— A gust of laughter rolled from the hall. The drinking and boasting had begun. Breguswith stood. I’ve things to see to. We’ll talk another time. Watch women and men, put yourself inside them. Imagine what they’re thinking. And remember what I’ve said.

*   *   *

Two days into the retting, the river was sluggish and the air still and heavy with the ret stink. Breguswith and Onnen were inside the undercroft of the great timber hall, sorting cloth into bales for merchants and bales for the household, and Hereswith and Mildburh were in the weaving hut tying weights to the warp on a piece of tabby. Hild was long since tired of watching women and men from the loft in the byre and under a bench in hall (the rooftree at Goodmanham was low, close enough to the fire pits to make her cough and choke the one time she had tried it). All they seemed to do was lie to each other; the women did it while giggling and the men while boasting. She had no idea what that had to do with strength.

So today she forgot about it and, with Cian, followed the king and his household—his advisers, the various bands of warrior gesiths and their war hounds and sight hounds, the priests and petitioners and housefolk—into the meadow. The dogs settled down in the shade of a stand of alders in the bend of the river, and Hild, with Cian behind her, cautiously held out a fist to Gwen, the huge scarred wolfhound bitch whom they fed sometimes, when they could, and who consequently allowed them to approach on occasion. Gwen sniffed, then lifted a lip at Brannoch, the leader—a boarhound, and mad, though not as mad as the brutalised war hounds—and after some grumbles he licked his chops and lowered his nose to his paws, and the children sat themselves slowly, and Hild dared to lean against Gwen’s flank, and they all settled in to half doze and half listen to the run of the river, the whine of flies, the laughter of drunken fighting men, and the king’s petitioner.

Edwin, a compact man with chestnut hair, a grey-threaded beard, and heavy rings on both arms, sat on his carved stool under the oak, his chief steward Coelgar at his ear and his advisers about him, with his chin on his fist and his eyes on the petitioner, a one-handed local thegn, rewarded with five hides by Æthelric Spear years past for service rendered as gesith, who complained that a local widow had set eel traps in the river: his river, his.

Æthelric Spear. Hild’s grandfather. Hild paid closer attention.

Edwin had his face turned to the man, and smiled and nodded in the right places, but after a sentence or two his feet began to move this way and that on the turf. Hild plucked herself a blade of grass, sucked on the fat end, and pondered him. His gaze roved over his household: the priests—a bishop from the British west (spy of his foster-brother Cadwallon ap Cadfan, her mother said), a soft-voiced Irishman (bearing news of the Dál Fiatach and their hopes for the Isle of Vannin), Coifi, the ambitious young priest of the great temple, a woman who tended the well of Eilen (or tended first the needs of the scruffy local priest of Saint Elen, some would say)—the warrior gesiths (calling for more ale, more mead, "More white mead, White mead, at this hour!" the houseman muttered as he broached a second cask and gestured for a wealh to remove the empty), the confidential adviser from Eorpwald, the sulky new king-to-be of the East Anglisc, and his two sons, the young æthelings Eadfrith and Osfrith (no daughter, no future peaceweaver as yet). Edwin’s gaze moved from one to another and back again, head tilted. Hild had seen a dog look at his master that way when trying to guess which hand held the bone.

Gwen woke from some dream with a muffled bark and shook Hild off into the grass and scratched mightily, and stretched, and set the whole pack to shaking and stretching and scratching, and Hild after a moment tried it, too: the long stretch with both arms, then the legs, one at a time. It felt good. The push of her feet against the turf, the long line of her back. She did it again. Cian, next to her, copied her, limb for limb. Then he tried to scratch behind his ear with his right foot and fell over, giggling, and then, though she knew it was impossible, she had to try, too. They howled with laughter, and the dogs bayed and one, confused, snapped at another, and soon they were snarling and foaming and the warriors shouting and flinging arm rings as bets. One hound clamped another’s muzzle between its teeth and, neck rigid, haunches bulging and shining with effort, hauled it, screaming and bleeding, across the turf, clods of dirt ripping free as both fought to push in different directions. Hild was glad when Domnach, the Irish dog boy, came running with whip and raw meat and beat the hounds into whining submission. She stared at the bloody trails gouged by both dogs.

The king used the distraction to send the petitioner away with a fine knife and no decision.

*   *   *

Hild was seven, in the stone undercroft of the palace at York, helping her mother count the tuns of honey. Her mother told her she would be seated at the high table for Modresniht, one of the twelve winter feasts.

You’re to sit by the king. The queen, too. If she’s well. You’re to talk to him. She counted on her fingers again. That makes three dozen. Do you have the tally sticks?

Hild held up the smooth, notched sticks. You’re to sit by the king. You, not We. But she had learnt to say nothing until she understood. She would think about it later.

She loved the undercroft. It was vast and cool and mysterious, room after room, with water running along the southern wall in a sharp-edged gravel-bottomed channel. One room, with thick walls, no windows, and a stout, banded door, was full of treasure, but Edwin kept a man outside it at all times, even during feasts, and Hild had never seen the hoard of gold and garnets that Cian—one early evening, as they ate small wrinkled apples and hard cheese and fresh hazelnuts—assured her were heaped in piles on the tile floor. Hereswith had snorted and said Cian had never seen it, either. And then the two of them fell to throwing nutshells at each other and pulling each other’s hair. They did that a lot now, since Cian had carelessly months ago boasted that his father was a real king, with a real kingdom, and Hereswith shouted back that Ceredig was the chief of a tiny wealh forest who, even now, was being hunted like a wounded boar through the wood he’d once called home for killing her father, and Hild’s, who if he’d lived would one day have been overking of all the isle.

Hild had ignored them and concentrated on keeping a stick tucked under her arm like a distaff while she ate. Her mother could do anything with a spindle or a distaff in her hand, and Hereswith and Mildburh were already working on a diamond twill. She hated the idea of not knowing how to do something when it was time.

Besides, everything they said was wrong. Ceredig was not Cian’s real father. And Hereric was an ætheling who had been poisoned in exile and no one cared anymore. Even the men who had come with them from Elmet were deserting them. Her mother was bitter, she knew, but she understood: How was a man to measure his worth without a noble lord to fight for and receive rings from? It was a fall to be a should-be king’s gesith and then a mere fighting man hired to protect a woman and children. Eight had come with them from Elmet. Six now were oathed to Edwin: gesiths again. Only Burgræd and his stripling son were left, and Hild knew by the way the son stood stiff when Edwin was near that he was pulling away in secret.

Hild shivered. It was cool in the undercroft built under the redcrest palace, and shadowy, with pictures of old-fashioned people in robes painted on the walls—painted on the walls! The robes had a border dyed a purple her mother could not reproduce with her lichen. At the western end was a stone table and niches. An altar, Onnen said: whether to Mithras, to the Christ, or to the goddess of the spring, nobody knew. Hild resolved to bring an offering when her mother was busy.

Much of the palace was broken and patched with timber and thatch, but anyone could see it had once been magnificent. Edwin, it was said, planned to restore its former glory.

… and, little prickle, when you sit by the king, you must talk. You don’t talk enough.

Quiet mouth, bright mind.

Oh, this is cloudy. Breguswith dipped her finger in the honey, sniffed, and gestured to Hild to come close so that she could wipe her finger on her daughter’s brown tabby sash. She pointed to the lid, leaning against the wall.

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