Another book under the Christmas tree for me this year was Daughter of the Wolf by Victoria Whitworth. The author is a historian — I cited her book Dying and Death in Later Anglo-Saxon England a lot while writing my thesis — and I have read and enjoyed her two previous novels set in Anglo-Saxon England, The Bone Thief and The Traitor’s Pit.
In keeping with my previous posts about these books, this is not a review. If you want my one-sentence review, I liked it and was really pleased with how it evoked its world. In this post, though, I really just want to talk about an issue that I think Daughter of the Wolf approaches very effectively.
So The Bone Thief and The Traitor’s Pit did a great job of putting a fundamentally different way of viewing the world at the centre of the story in a way that felt natural. This kind of thing really stands out in a historical novel, where differences between historical and modern, dare I say it, mentalities are either glossed over or tend to stick out a little awkwardly because of the light the author shines on them.
Now, and this is not a criticism, those books were, particularly The Bone Thief, adventure stories. A plucky band of unlikely heroes, travel to exotic places, a beautiful but possibly unreliable love interest, dangerous missions behind enemy lines, all that kind of thing. They were adventure stories without much fighting, which was nice to see in a period that’s mainly seen as all about the shield-wall and the Vikings and the wolf-time and what not. But they were definitely within the tradition of the historical adventure story. Again, that’s not a bad thing.
But Daughter of the Wolf moves even further away from that tradition. There is violence and danger in the story, of course, but this is a story that focuses on a young woman who has to run her family estate against a backdrop of both political and family intrigue. What that means is that it’s a dramatic historical narrative set within the framework of activities that would have been considered acceptable for women (more or less) within its ninth-century setting.
I’ve written before about some of the aspects of the early medieval shieldmaiden image that give me pause. Specifically, the celebration of female heroes who excel in traditionally male-dominated areas like combat and the military can be read as dismissive of the social areas in which women mostly did have agency. I’m not saying there’s anything wrong with female fighting heroes, or that women didn’t or don’t fight — but it’s nice to see Daughter of the Wolf centering its narrative in the world of government, religion, economics, diplomacy and so on.
Anyway, I liked it a lot, but no surprise there; I’m 3/3 on this author.