Philippa Gregory's Tudor Court 6-Book Boxed Set (214 page)

4. Compare the way the court initially treats Anne to how they treat her during the Christmas festivities at Hampton Court after the dissolution of her marriage to Henry.
In what ways has she remade herself? What is the single greatest factor in Anne’s transformation?

5. Discuss the encounter in which the king comes to Anne of Cleves in disguise, and she rejects his advances. Why does this incident have such an impact on Henry’s mental state? How is this incident a turning point for both Anne and for Katherine?

6. Does Jane realize the implications of having given evidence against her husband, George, and sister-in-law, Anne Boleyn? Did she do it to save George and Anne, or did she do it out of spite and jealousy? Why is Jane so eager to return to Henry’s court, given what happened the last time she was there?

7. Jane is reluctant to give false evidence against Anne of Cleves, as she’s ordered to do by the Duke of Norfolk. Why, then, does she go ahead with it? Does Katherine Howard, who has a friendly relationship with Anne, feel any remorse about usurping Anne’s place as queen? Why or why not?

8. What are Henry’s motivations for setting Anne of Cleves aside? Is his decision not to have her executed a political one or a personal one?

9. Why does Anne prefer to remain in England rather than return to Cleves? Ultimately, is she satisfied with her life as a single woman?

10. How does the Duke of Norfolk use Jane and Katherine to further his own political advancement? Is Jane a willing
participant or a pawn in his schemes? How much responsibility does Katherine, who is fourteen years old when she first goes to Henry’s court, bear for her actions?

11. When Jane is locked in the Tower awaiting sentencing, she decides to act crazy in order to avoid the executioner’s block. Is Jane truly mad or merely a good actress?

12. The Duke of Norfolk tells Jane that she is “a byword for malice, jealousy, and twisted lust” and that she is “an evil woman.” What empathy, if any, do you feel for Jane? Does Jane possess any positive traits? If so, what are they?

13. In what ways does the memory of Anne Boleyn haunt Jane, Anne, and Katherine? What is each woman’s Boleyn inheritance?

14. Did reading
The Boleyn Inheritance
give you an understanding of the inner workings of a sixteenth-century royal court? How so? Discuss the social and political realities of the time—particularly the roles of women—as they apply to the circumstances of Jane, Anne, and Katherine.

15. Have you read Philippa Gregory’s
The Other Boleyn Girl, The Queen’s Fool, The Virgin’s Lover,
and
The Constant Princess,
all of which deal with Tudor-era figures? If so, how did
The Boleyn Inheritance
compare to these novels?

A CONVERSATION WITH PHILIPPA GREGORY

Why did you decide to structure the narrative from the perspectives of the three women featured in the book—Anne of Cleves, Jane Boleyn, and Katherine Howard—rather than tell the story through the eyes of one character?

I like to develop and change the style of the novel with each new book. I believe very strongly that the historical novel—just like the literary novel—can experiment with form. This story was one which really suited a three-person narrative and I thought that as long as I got the voices of the three women, distinct and clear on the page, then it would be a successful way of telling their stories.

You say on your website (
www.philippagregory.com
) that
The Boleyn Inheritance
is currently your favorite of the novels you’ve written. What makes this book stand out for you?

The most recent novel is often the favorite! But I think this one tells a fascinating story which is not well known. It rescues the reputation of two queens who have been neglected and traduced by conventional history—historians still call Anne of Cleves “fat” and Katherine Howard “stupid,” so it matters to me that they are considered carefully as real people. It was a real pleasure to write.

You say in the Author’s Note that of Henry VIII’s six wives, the least is known about Anne of Cleves and Katherine Howard.
Why is that? When conducting research for this novel, did anything come to light about either woman that surprised you?

I think I was startled by the new material which shows how young Katherine was. That was probably the most striking piece of information. And the amazing deal that Anne managed to make as her divorce settlement.

Jane Boleyn is a fascinating character and a little-known historical figure. Why do you suppose that no biography has been written about her?

I believe that people are working on her now, but there is nothing published at the moment. I think, like many of these amazing characters in Tudor England, they have been overwhelmed by the bigger story. Also, many people have accepted her as simply “wicked” and then simply “mad.” I suggest that there is likely to be a more complicated version behind this.

You’ve written about four of Henry VIII’s six wives: Katherine of Aragon, Anne Boleyn, Anne of Cleves, and Katherine Howard. Do you have plans to feature Henry’s other two queens, Jane Seymour and Catherine Parr, in novels?

I am very interested in Catherine Parr. I did quite a lot of Jane Seymour in
The Other Boleyn Girl,
so I feel I have looked at her. But Catherine Parr is an intriguing queen and another survivor.

What can you tell us about the writing process for
The Boleyn Inheritance
? Did having a previous store of knowledge about the court of King Henry VIII to draw on make it easier in some ways to write this novel?

Every Tudor novel gets easier, as I am building a body of knowledge and a library at the same time. But, equally, every novel takes me somewhere new and interesting—this one to the politics of the later court, and the health of the older king. I feel rather warm
toward Henry as I have now “lived” with him for years and looked at his life from when he was a young charming boy to this old and dangerous tyrant. I love going back to the history books and thinking about him and the court; they are a familiar but always surprising story.

The lives of Jane Boleyn and the young Katherine Howard end tragically. How did you maintain a boundary to keep from becoming too emotionally involved in such a heartrending story?

I hope you are hugely involved! I thought the death of Katherine was very poignant, and the detail of her practicing with the block is from the histories—it is probably true. The death of Jane should come as a surprise and a shock to the reader; that too is based on the accounts of the time which depicted her as genuinely mad. The redeeming feature of the end of the novel is the survival of Anne of Cleves and her speech at the end. “I will own a cat and not fear being called a witch” is (in my opinion) the best thing I have ever written. It comes straight from the heart and from my own experience in that I think women have to be free and a key to their freedom is how they are perceived. They have to free themselves from fear.

The Other Boleyn Girl
is being made into a feature film starring Natalie Portman, Scarlett Johansson, and Eric Bana. Are you looking forward to seeing the story come to life on the silver screen? Were you involved in writing the screenplay or in other aspects of the filmmaking process?

I am historical consultant on the project and I have been in touch with the writer, Peter Morgan, all through the project. I have visited the set and seen some of the rushes. It has been very interesting and enjoyable, and the performances that I have seen have been stunning. I hope very much it will be a great success, but I always come back to the novel, which is my original and personal vision of the story. The film, by its very nature, is another version.

You recently participated in an author event at the Tower of London. What is it like to set foot in such a historic place, one that has featured prominently in some of your works?

It was magical to walk where these historical characters walked, and on that evening, the Tower was closed to the public and we were able to be there in darkness with occasional glimpses of actors in Tudor costume. It was very, very haunting.

What other historical figures are you considering featuring in future books?

I am currently working on a novel about Mary Queen of Scots and fighting to get the time to write it! One of the problems that comes with success is that there are so many calls on my time. But everywhere I go I take my research books and my laptop, and I love working on this character.

By the same author

The Cousins’ War

The Lady of the Rivers

The White Queen

The Red Queen

The Kingmaker’s Daughter

History

The Women of the Cousins’ War:

The Duchess, the Queen, and the King’s Mother

The Tudor Court Novels

The Constant Princess

The Other Boleyn Girl

The Boleyn Inheritance

The Queen’s Fool

The Virgin’s Lover

The Other Queen

Historical Novels

The Wise Woman

Fallen Skies

A Respectable Trade

Earthly Joys

Virgin Earth

The Wideacre Trilogy

Wideacre

The Favored Child

Meridon

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This book is a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental.

Copyright © 2006 by Philippa Gregory Limited All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Touchstone Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020.

First Touchstone trade paperback edition August 2007