Falling in love with a new book is a billion different kinds of magic. I have cracked open that door and got my foot in the world and, even though I’m still suffering through the usual challenges, I have a lovely sense of rightness that I’m doing what I’m supposed to be doing.
As you’ve no doubt gathered, I’m basing many of my ideas for this book on Anglo-Saxon England, and one thing I’m really getting caught up in at the moment is the poetry of the time. You must understand, I had my first exposure to Anglo-Saxon poetry (sometimes called Old English poetry) 12 or 13 years ago in my undergraduate medieval studies minor. At the time, my response was “meh”. I mean, I liked Beowulf (there are monsters: what’s not to like?). But in general it seemed a little plain, even mundane. Then, while doing my master’s, I was part of an Anglo-Saxon reading group who spent months translating parts of the Anglo-Saxon chronicle and The Battle of Maldon. Again, meh.
So imagine my surprise, on revisiting it this time, to find all the meh gone. Where I thought there was kind of a detached bluntness, I now found a weighty strangeness. The split alliterative line… oh, my! What drama and measure there is in it! Discovering the beauty in it is like having a platonic relationship with someone your whole life, then suddenly looking at them and realising they are made of awesome. And falling hard, hard, hard in love. At the moment, my favourite poem is The Wanderer (click here if you want to hear it read to you in Anglo-Saxon). I must have read it ten times this week alone. Tolkien fans my recognise the adapted lines from it: “Where is the horse and where the rider?” (Aragorn sings it in The Two Towers, Theoden says it in the movie version).
So what is a girl loved up on Anglo-Saxon culture to do? Well, head off to England of course! I am dragging my family off to face a northern winter and investigate various sites and monuments (that’s the Sutton Hoo mounds in the picture). Oh, the kids are going to love it. That was irony.