Published in 1831, the classic historical Gothic romance The Hunchback of Notre-Dame is representative for narratology, since the plot is majestically set in medieval Paris and Victor Hugo manages to create a specific Middle-Ages atmosphere
With the coming of the final season of HBO’s Game of Thrones, the mainstreaming of the medieval-fantasy genre that began with Peter Jackson’s Lord of the Rings movies is complete.
Everyone loves a medieval mystery novel, but just how does an author go about creating one that’s true to the period?
My personal label for it is this-is-fantasy-fiction-but-it’s-acting-as-fact. Or I could call it a novel about dinner parties with dead people.
Once in a generation, a writer comes along and, in making fun of his generation and in creating fun using the Middle Ages brings together a new set of stories for people to tell. This is what Mark Twain did in 1889.
Inspired by real bloodstains and from detailed research comes a refreshingly different historical romance between a god-fearing woman and a known murderer.
What if the Norse religion of the Vikings had overcome Christianity? That is one of the questions Ian Stuart Sharpe explores in his debut novel, The All Father Paradox.
I shall explore in this column is how each writer creates their particular Middle Ages and how that Middle Ages works at story feel.
This thesis aims to illustrate the way in which Follett has depicted the medieval Church of the twelfth century and answer the question of whether this depiction is a historical accurate representation.
Chances are good that unless you’re a scholar of Welsh literature, Arthurian legend, or early Scottish history, you’ve never heard of a Welsh poem called “Y Gododdin” (“The Gododdin,” in English).
Medieval historians know M.R. James primarily as the compiler of many catalogues of Cambridge manuscripts and as the translator of New Testament apocrypha, but he was also the author of several collections of ghost stories
If you could alter history, change one subtle event, what would you pick? For a Viking fan, the answer might be as simple as it is iconic.
Read an excerpt from Glass Island, a debut novel by Gareth Griffith, set in 6th century Britain.
In preparation for summer reading, Natalie Anderson shares some of her favourite works of medieval historical fiction.
Popular author and historian Toni Mount explores the fascinating history of the Tower of London in honour of her latest medieval murder mystery, The Colour of Murder.
Predictions of a return to the past have also inspired the dystopian visions of Octavia Butler’s Earthseed duology, Margaret Atwood’s Oryx and Crake duology, and Suzanne Collins’s Hunger Games trilogy
As a scholar in Medieval Studies M. R. James published countless works on medieval manuscripts and church history, but, perhaps most of all to his surprise, he is better known today for his ghost stories.
Cynthea Masson speaks about the relationship between her academic study of alchemy and the writing of her 2016 novel, “The Alchemists’ Council.”
Are you a horror fan looking for something different to shake up your reading list? Kelly Evans might have just what you’re looking for in her latest novel, ‘The Mortecarni’, a medieval zombie mash up set around the time of the Black Death.
Escape this summer to the Middle Ages with these five historical fiction novels…
Set in a parallel Renaissance world, two major religions, the Jaddites who worship the sun, and the Asharites who worship the stars, struggle amidst the backdrop of court politics, murder, espionage, faith and family.
BOOK REVIEW: Children of Earth and Sky – Guy Gavriel Kay
By Danièle Cybulskie This week, I came across one of those great medieval stories that is just too good not to share: “The…
Kelly Evans’Anglo-Saxon novel centres around the story of Aelfgifu of Northampton (990-1040); from her rise in court and eventual marriage to one of England’s most famous early kings, Cnut the Great (995-1035), to her repudiation, and later life with her sons after Cnut’s passing.
The narrative frame around Umberto Eco’s The Name of the Rose, which intricately removes the story itself from its ultimate reader by insinuating long journeys, lost manuscripts, and various narrative intermediaries between text and recipient, also establishes a chain of connection between the late medieval murder mystery itself and its modern retelling, thus bringing the Middle Ages into present-day reality and vice-versa