By John Guy
With the novelistic vividness that made his nationwide ebook Critics Circle Award finalist Queen of Scots “a natural excitement to read” (Washington submit BookWorld), John man brings to existence Thomas extra and his daughter Margaret— his confidante and collaborator who performed a severe function in safeguarding his legacy.
Sir Thomas More’s lifestyles is celebrated: his competition to Henry VIII’s marriage to Anne Boleyn, his arrest for treason, his execution and martyrdom. but Margaret has been principally airbrushed out of the tale within which she performed so very important a task. John man restores her to her rightful position during this fascinating account in their relationship.
Always her father’s favourite baby, Margaret was once such an entire pupil by means of age eighteen that her paintings earned compliment from Erasmus. She remained dedicated to her father after her marriage—and paid the associated fee in estrangement from her husband.When extra used to be thrown into the Tower of London,Margaret collaborated with him on his most famed letters from criminal, smuggled them out at nice own chance, even rescued his head after his execution. John man returns to unique resources which have been missed by means of generations of historians to create a dramatic new portrait of either Thomas extra and the daughter whose devotion secured his position in heritage.
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Extra resources for A Daughter's Love: Thomas More and His Dearest Meg
This victory had meant the saving of Vienna and the checking of Louis XIV’s territorial ambitions in Europe —something always of interest to the British. The society that the director (Max Stafford-Clark) chose to portray in The Recruiting Officer was one preoccupied with money and politics. So when Wertenbaker’s play ended with the opening lines of Farquhar’s, what were marked for me were disturbing continuities, not differences: If any gentleman soldiers, or others, have a mind to serve Her Majesty, and pull down the French King; if any prentices have severe masters, any children have undutiful parents; if any servants have too little wages or any husband too much wife; let them repair to the noble Sergeant Kite, at the Sign of the Raven, in this good town of Shrewsbury, and they shall receive present relief and entertainment… (Wertenbaker 1989: 39) The plot of this (not quite typical) restoration comedy conflates politics, economics and the erotic.
At times, the claims for these dual and contradictory functionings are rather extreme, as in the view that irony is what allows one to “see where God is to be found in a world abandoned by God,” yet is in itself “demonic” (Lukács 1971: 92). At other times, this particular articulation of transideological duality is put in somewhat more modest terms, and angled slightly differently. On the one hand, irony is said to function as the “ultimate form of recuperation and naturalization”: “We reduce the strange or incongruous, or even attitudes with which we disagree, by calling them ironic and making them confirm rather than abuse our expectations” (Culler 1975: 157).
Entire careers are being made to this day on the ambiguities provoked by the attribution of irony: is Madonna the Empowered Woman-in-Control or the Material Girl, Complicit-with-Patriarchy-andCapitalism? The exact same evidence is always used to argue both sides: Madonna on the cover of Vanity Fair, Elle, and Vogue in the fall of 1992, publishing Sex along with the recording of Erotica with a $60 million contract with Time Warner. Those who interpret her as ironically subversive see her in control of her own plural representations/masquerades—be they of vamp or virgin—through irony and artifice (Birringer 1991: 216), though few seem willing to grant her quite the total self-ironizing camp of a Mae West.
A Daughter's Love: Thomas More and His Dearest Meg by John Guy