Category Archives: Historical Fiction

Historical novels: that marvelous blend of fact and fiction

Marrying_mozart

by Stephanie Cowell

It was a rather terrifying moment in my writing life. I had been asked to read from my novel about Mozart at a scholarly conference: the Mozart Society of America Even a prominent scholar from the Mozarteum in Salzburg was attending. Here were a group of people who had dedicated their lives to studying aspects of Mozart’s life and music. (One or two were so scholarly that I have no idea what they were saying!) I got up rather tremulously and decided to be honest. I told them, “Thank you for all your hard work. I take your work, mix it with a little imagination and turn it into fiction.” And to great surprise, they loved the scenes I read.

So is what the historical novelist writes fact or fiction? “Both,” I say. “In a sensitive, creative, respectful and sometimes daring combination.”

Many years ago, I had dinner in Oxford with the great Elizabethan scholar Dr. A.L. Rowse. There I confessed to him that I wanted to write Elizabethan historical fiction but felt shy about making up dialogue. His eyes widened and he said, “But of course you have to make it up!” That was my blessing to go forward and I was happy to dedicate one of my novels to him.

“How much is real? What is true?” I always hear these questions when I speak about my novels. I try to give an overall view. I say, “We can’t know what great people said behind the closed bedroom door,” and they all nod modestly in agreement. Behind closed bedroom doors – oh, of course not!

“But what is historical fiction?” people also ask and I reply, “It’s fiction based on history.” More, it is a dramatic piece and must tell an interesting, hopefully gripping story. To do that it must have a plot and dramatic highlights; it must not be repetitive or meander. Real lives do both. You must trim and shape real life into fictional form.

Shakespeare wrote historical fiction in his history plays. Some people have never forgiven him for making Richard III an evil guy, but Shakespeare was writing under the reign of the granddaughter of the man who dethroned Richard, so he shaped his character to something that would please her. He also has Henry V cry passionately before the Battle of Agincourt, “Once more unto the breach, dear friends!” In real life Henry might have said, “My boots hurt,” but it would not be as memorable and not nearly as stirring.

We find facts in history books; we find living truth in historical fiction. And if a reader is introduced to an area of the past or a great historical figure she loves through fiction, she can always turn back to the work of historians. Nothing makes me happier as an author than to hear that I have made some part of history as real to readers as if they were transported to that time. I wanted to live then as well. It is because I love some periods of the past and certain people who lived within them so much that I became a writer.

About the author: Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Marrying Mozart and Claude & Camille: a novel of Monet. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.

 

 

The peril of torphuts

by Tracy Barrett, W&M contributor

Ah, the joys of research. You find exactly the detail you need to round out a character’s personality, or an artifact that will enable your plot to develop in the way that you want. Or you stumble upon something that you hadn’t been looking for, but which takes you in a direction that you hadn’t thought of but that enriches your manuscript. There’s a flip side, of course. Some integral object turns out to have been invented centuries after the time when your story is based, or a character died before she could have met your protagonist.

And then there are the wonderful, quirky details you can’t use. They’re irrelevant or distracting. It’s so hard to let them go, reluctantly watching a weird item float away because you just can’t work them into your story.

I recently found one of those, and although I haven’t given up, I’m still trying to figure out a way to use it.

Yum!

Most ancient history buffs know about garum—the sauce made of fermented fish (guts included) that the Romans were addicted to. It was stinky stuff. (But loaded with umami, it turns out.)

Garum factory in Spain

Despite their love for it, the Romans forbade its manufacture within city walls. It’s so pungent that when some jars labeled “GARUM” were opened after lying on the sea bed for millennia, they reputedly still smelled of it. The city of Pompeii was well known for its high-quality garum.

Being a port, Pompeii was also a very multicultural city. Its merchants catered to customers from a wide variety of cultures, many of whom observed specific dietary laws. When some jars of garum labeled “castum” (pure) were found, scholars wondered—pure in what sense?

At least some scholars believe it means “kosher.”

Kosher garum! How can I work it into my story? The last thing I want to do is to use it for its own sake. That always winds up being clunky. I recently tried to read a novel set in the Middle Ages and gave up after too many passages like this one:

Janekin had been engaged in a battle of words with the young citizens who supported Henry, duke of Lancaster, in his struggle with King Richard. Janekin was of the king’s party and wore a pewter badge of the white hart in his tall hat of felt. John of Gaunt, father of Henry, had died seven weeks before. Now King Richard had revoked Henry’s inheritance, keeping the Lancastrian legacy for his own use, and had consigned Henry to perpetual banishment. Janekin had been watching some Lancastrian supporters at the corner of Ave Maria Lane, and had called out “Torphut! Torphut!” as a signal of his contempt. Two of them heard this and ran in chase of Janekin, who turned upon his heels and fled down the lane.

Now, I’m all for period detail to add richness to a scene. The pewter badge in a tall felt hat is a nice touch—I hadn’t pictured Janekin in a tall hat until then. Ave Maria Lane is a nice name. But it goes into overload. Do we really need to know the details of the tussle for the throne? And what the heck is “torphut”? Okay, I get that it’s an insult. But what does it mean?

The OED didn’t help. A google search turned up only this same passage. I have no doubt that the author found the word in some document someplace and it had such a nice insulting sound that he just had to use it.

It didn’t work for me—it pulls me out of the story. I wish he had resisted the impulse and had found another insult to use.

So from now on I’m going to call those interesting facts that you’re dying to use but really shouldn’t “torphuts.” And I vow to avoid them.

Who buys used postcards anyhow?

By Lisa Smith, W&M Contributor

The ‘archival jolt’ happened in the strangest of places, a Brighton fleamarket. Idly rummaging through the detritus of people’s lives in search of treasure, I found a large box filled with used postcards, and I wondered who on earth would purchase such a useless thing. Of course, the snoop in me couldn’t resist a quick peek. I happily rooted through thank you notes, accounts of holidays, radio contest answers, and invitations, before finding some blank ones from the early twentieth century. These, at least, might be added to my stationary stash!

With disappointment I realised that several of the old postcards had, in fact, been ruined by small scrawled initials: ‘V.L.L.’ I scanned initialled card after initialled card, finding no truly blank ones.  It was then that the jolt struck: who was this person? And what was the significance of this postcard collection?

Aided by my husband, who joined my quest, I amassed a large pile of initialled cards, all with dates from the 1920s. We had both been hooked by the mystery of V.L.L.’s cards. But thinking like a historian, I was at a loss to know how to analyse the essentially blank texts that provided no clues to the sex, name, or purpose of the collector.

My husband and I left the fleamarket, but all day our conversation returned to the postcards, as we imagined the story of V.L.L.’s cards, which were from all around Europe. Perhaps V.L.L. had been a former soldier or military nurse who had gotten a taste for travel while in service. Perhaps V.L.L. was merely an armchair traveller whose friends brought back pictures of their own trips. Or perhaps V.L.L. was a war widow, who took up a life of travel instead of remarriage. The fictive possibilities were endless, exhilarating.

The next morning found my husband and me in possession of a large garbage bag filled with five pounds of unsorted postcards, wondering how to get them back home.

And now that I know who buys used postcards, a bigger question remains: what am I going to do with them?

Lisa Smith is an Associate Professor of History at the University of Saskatchewan. She writes on gender, family, and health care in England and France (ca. 1600-1800), but has always had a soft spot for the early-twentieth  century.

Why we love to read novels about queens: Part I

Sandra Gulland

by Stephanie Cowell

Do readers never tire of reading about queens? What is the great fascination?

I decided to ask some novelists, readers, bloggers, and experts.

I met Sarah Johnson, the author of Historical Fiction II: A Guide to the Genre and compiler of the blog Reading the Past (http://www.readingthepast.com), at the semi-annual Historical Novel Society U.S. conference. She told me, “It’s safe to say that the fascination for such novels has been ongoing for some time. Dumas was writing novels about Marguerite de Valois and Marie Antoinette in the 1840s and ’50s, for instance, and he wasn’t the first. The trend comes and goes, and now it’s firmly on the upswing with novelists such as Jean Plaidy, Norah Lofts, Margaret George, and Philippa Gregory and many gifted others.” (Sarah believes perhaps a few dozen such novels were published in 2011.)

But why do we want to read about queens? Sandra Gulland, author of the magical trilogy about Josephine Bonaparte (the empress) and Mistress of the Sun (mistress of Louis XIV), answered, “I think we simply are hungry for stories of women in a position of power, because it’s so rare. Some handle it gracefully (i.e. Josephine Bonaparte), and others wilt in the harsh glare of such light (Louise de la Vallière).” Sarah Johnson replied, “The majority of novels about queens take place in eras (12th through 18th centuries) when women had little say in the major decisions affecting their lives, but most queens, whether they were rulers themselves or consorts, had a wide sphere of influence. Plus, these women were served the finest cuisine, wore the most expensive gowns, had the most talented artists and musicians around them… and readers love descriptions of court life. (This is assuming the queens didn’t end up in the Tower or its international equivalent!”)

Novelist C.W. (Christopher) Gortner told me, “I think we are fascinated both by the queens’ celebrity appeal as well as their fragility. Their lives, while outwardly glamorous, were full of trials and tribulations, tragedies and triumphs: we know that they struggled to survive. Their fragility and courage exert a powerful effect on our imaginations. The issues they faced were monumental.”

He added, “I first became enamoured of historical fiction in my pre-adolescent years, when my mother gave me a copy of Immortal Queen, a novel about Mary of Scots, for my birthday. We lived in southern Spain; a ruined castle that had once belonged to Isabella of Castile sat near the beach by our flat and I used to clamber about its crumpled battlements all the time. I was surrounded by history. It made me an addict for life.” Christopher’s new novel, The Queen’s Vow, which follows young Isabella of Castile in her dramatic rise to power, will be available on June 12, 2012. He is also continuing his Tudor mystery series.

Finally, I simply had to this burning question: Can anything else possibly be said about Anne Boleyn?

“I’ll say yes,” replied Sarah Johnson, “because I know we haven’t seen the last of Anne in historical fiction! I’m anxious to read Hilary Mantel’s take on her downfall, for example. Every author brings a new angle on her life to the table, or at least tries to.” And Christopher Gortner added, “Anne Boleyn went for the crown and she got it. And it destroyed her. But she did it anyway. She’s tough to beat, in terms of sheer drama and pathos. “

Christopher concluded, “I often say that in the hands of a skilled novelist, these women can shed their marblized images and reclaim their humanity, in all their glory and foibles. Historical fiction about queens shouldn’t really be just about queens; it’s about us, too, about how we live and make choices and confront challenges. These women represent us – with more lavish clothes!”

Come back for the second part of this article featuring book bloggers and more novelists.

Ah to live like a queen! If not then, to read about them!

Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Marrying Mozart and Claude & Camille: a novel of Monet. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.

Captain Kirk to the bridge, please

by Tracy Barrett, W&M contributor

 

On Star Trek (and by this, children, I mean the real Star Trek—the one captained by James T. Kirk, and with cheesy special effects and constant violation of the Prime Directive), a lot of strange things happen (I’m referring to the strange things that the producers intended to happen, not the accidental ones). The audience has to understand these strange things to make sense of the story. But there are no footnotes in a television show, and a voice-over to explain what’s going on would be even more intrusive than mid-60’s hairstyles and encounters with space-hippies.

So how to explain?

Enter Captain Kirk. He’s got the smarts to run a spaceship but doesn’t know a whole lot about the new lives and new civilizations that he encounters. Luckily, he has Mr. Spock, who patiently explains and theorizes about these mysteries to his captain, and hence to the audience. Kirk isn’t stupid—he’s just a military man whose interests lie elsewhere.

Writers of historical fiction face a similar problem. My Princess Anna of Anna of Byzantium wouldn’t think, “Wow, the palace I live in is huge!” But I want my readers to know that it is. Ariadne of Dark of the Moon wouldn’t question the human sacrifice that her religion demands every spring. But I want my reader to picture Anna in a huge palace, and Ariadne being a prime player in the sacrifice. So they need someone to explain to: a slave from a distant part of the empire in the first case, Prince Theseus in the second.

It’s been said that there are only two plots: A stranger comes to town, and Someone takes a journey (some have said that this is really one plot, but from two points of view). I doubt that this is true, but the device is a common one. I wonder if the need for a stranger in town is so the person whose POV informs the story can either explain things to the stranger or be the one who receives an explanation.

My thousand historical research books

some of my book shelves

by Stephanie Cowell

1848 Lady Book with old pressed flowers

I have been accumulating research books or, when they are very rare, consulting them since I first began to write historical novels. In the late 1980s when I began we still had many used book shops in New York City with wood shelves too high to reach but by ladder, shelves often sagging with the weight of books and with that definite smell of wood, dust, old paper, old bindings. Each new book was an enchanted encounter.

I have published five historical novels and have more in draft than I’m willing to admit. Each began with a history book: a rare volume on Elizabethan London printed about 1894 with a red binding which I found I don’t recall where, a biography with fragile pages of a 17th century English archbishop which was waiting for me in a very small shop for very little money. A small book with leather covers and gilt-edged pages by Marcus Aurelius discovered in a cold, empty New England book barn where there were tens of thousands of books and the footsteps of one lone browser…me. The original 1665 book on the early microscope by Robert Hooke (Micrographia) in the New York City Arents Collection and one of the thirteen extant copies of Shakespeare’s 1609 sonnets perused and almost wept over at Yale. (Was this WS’s own copy perhaps?) And the rather astonishing heavy Victorian Godey’s Lady Book printed in 1848 and given to me by a friend, between whose pages I found a sheath of very dry flowers and leaves, almost colorless. (Who pressed them there and tiptoed away?)

I bought more books by catalog in the 1990s: newer books but on rare subjects such as a history of English workhouses, the Glastonbury Tor. In my travels I bought books. On my trip home from England I brought twenty-seven books. That was before the planes weighed your luggage or perhaps the weight allowance was higher. (I think I gasped with delight when I found a map of Elizabethan London.)

Then came the fabulous internet and every book I ever dreamed of waiting in some shop in Arkansas or the Cotswolds for me. I ordered How Shakespeare Spent the Day. I ordered an old book on the daily lives of French artists. And now my husband has given me a Kindle and I have found to my extreme delight a number of books on 1860’s Florence published in that time and all for free. One has a list of banks and food shops of the period and where you can hire a donkey cart.

And when I finish a historical novel, what happens to the books? Well, I give some away sometimes. I truly recall giving several away which I had used for my Monet novel so do not understand why a huge pile of them still weigh down the top of a file cabinet in the den. My books on the Brownings are scattered all over the house but my English history books are mostly in one whole shelf. Sometimes I wander from room to room touching the book spines. I hear the books murmuring softly, “And when will you write me? There is a story waiting within my pages! What are you doing researching that other book in the next room…I know all about you, you see!”

And I tell them, “Perhaps 2012 will be a good year for your story!” I know they are patient books though they do grumble in their dusty way and that they know in their inky souls that I truly love them and that I will come back.

Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Marrying Mozart and Claude & Camille: a novel of Monet. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.

Emotional truth

By Tracy Barrett, W & M Contributor

One factor that draws many people to historical fiction—and Civil War reenactments, the Society for Medieval Anachronism, Renaissance Faires, etc.—is curiosity about how it felt to live at a different time. I share this curiosity; I love to be so immersed in a former time that I’m startled to look up from a book’s pages and find myself in the twenty-first century. I first experienced this when reading Lucile Morrison’s The Lost Queen of Egypt, and then with Sigrid Undset’s Kristin Lavransdatter and Robert Graves’ I, Claudius.

Part of my fascination is the evocation of the time—the houses the characters lived in, the food they ate, the clothes they wore, the games they played. But what really draws me in is the feeling that I’m sharing the characters’ emotions.

Avoiding anachronism in emotion is one of an author’s most difficult feats. How, we wonder, could parents of the past have survived the death of one-third of their children? How could a teenager have accepted without question that she was to marry a man many years her senior, who had been chosen for her by someone else? If the character is horrified, we’re not being true to the time. But if we present a child’s death or an arranged marriage to an unpleasant old man matter-of-factly, we risk jarring the reader at our character’s perceived callousness.

I try to come up with a situation analogous to one today and have my characters react appropriately for that. For example, until modern medicine improved infant mortality rates, parents might react to the death of a child the way most Western people would react to the death of a pet: you’d be sad, you’d probably cry, you’d tell your friends, you’d never forget that pet, you might keep its collar in a special place—but you would move on, in a way that the parent of a dead child could rarely manage to do today.

I think of an arranged marriage as being similar to having parents choose a teenager’s high school. The teen might have some say, and if she really, really hated the idea of a particular school and another one was available, the parents might yield to her wishes. But they might not, and that wouldn’t be child abuse.

Here’s how I handled my main character’s reaction in my work in progress to hearing that an acquaintance had lost her husband and children to an illness several years earlier. She thinks: “Not unusual, but sad nonetheless. No wonder the woman had an air of bitterness about her.” I hope that reminds my reader that this kind of loss was common, while preserving my narrator’s humanity.

Who “Owns” a Story?

BarrettTracyRT

By Tracy Barrett, W & M Contributor

I occasionally get questions from readers of my historical fiction asking why I deviated from the real story of the Minotaur or the Odyssey. By “the real story,” what they mean is a familiar telling. But the version that my questioners think is the authentic tale is just one in a long line of tellings of a myth or legend, and my books are merely the most recent addition to that line.

Myths were told orally, most of them for centuries, before someone wrote them down. What that writer set down on paper (or clay, or parchment) was only one version, neither more nor less authentic than any other version that either didn’t get written down or whose written form has been lost. Usually the same basic story elements persist from one telling to another, but sometimes they are drastically altered. Look, for example, at three different (ancient) endings to the Odyssey, all found in ancient written sources of equal “authenticity”:

  • Odysseus ruled in Ithaca until the end of his days
  • being sick of the sea, he walked inland until someone didn’t recognize the oar over his shoulder and asked, “What are you doing with that winnowing-fan?”
  • he sailed through the Straits of Gibraltar and never returned

or the two descriptions of Ariadne’s fate after she was abandoned on the island of Naxos by Theseus after he killed her brother, the Minotaur:

  • she hanged herself
  • she married Dionysus/Bacchus and became immortal

or three levels of Helen’s culpability in the Trojan War:

  • she went willingly to Troy with Paris
  • she  was abducted by Paris and went to Troy against her will
  • she hid out virtuously in Egypt, while a phantom double went to Troy.

If the ancients didn’t find one version more true, more original than the others, why do modern readers?

In my young-adult novel King of Ithaka, Telemachos is indignant that bards change the details of stories. He is told, “Nobody expects a poet to tell the truth. It’s a better story this way.” This is even more true when a writer is retelling story that was fictional to begin with. What “authentic” story am I deviating from if I create a centaur sidekick for Telemachos, if I have Ariadne choose willingly to stay on Naxos, if my Minotaur in Dark of the Moon is no monster but a horribly deformed man? I’m not changing the “real” story. I’m making a new one, just as the other tellers before me have done.

Before they were themselves

Washington IrvingIn the summer of 1817, two men hiking in the Scottish countryside ducked out of a rainstorm by huddling close together beneath a nearby thicket. One of the men pulled his thick tartan cape over the head and shoulders of the other, protecting them both from the wind and the wet until the storm had passed.

They were Washington Irving and Walter Scott, although even they hardly knew it yet.

At the time, Washington Irving was just another struggling American expat, desperately trying to beat the post-war economic slump and save the floundering family business abroad. He had always been a lousy student, despite having (eventually) passed the bar, and though he now gamely embarked on a crash course in bookkeeping and business, it would not be enough to save the business from bankruptcy.

And he knew it.

He’d been living on the residual fame of his earlier literary success for years now, having achieved some fame and notoriety as the barely pseudonymous author of A History of New York, the book that gave us the words Knickerbocker and Gotham as synonyms for New York. Following that, he had served as the editor of a reasonably successful American literary journal, mostly confining himself to pirating and reprinting works from England before they were published in America, and writing sentimental biographies of the naval heroes of the War of 1812.

It was hack work, but he didn’t honestly have much else to do. And he needed the money.

When his brother Peter’s shipping business in Liverpool starting circling the drain, he tried to help. He wasn’t much good at it, though, which was depressing, and he took to brief respites of travel during which he might forget his troubles and scribble down half-formed bits of ideas in his journal.

The writing wasn’t coming easy for him these days, either.

A friend had given him a letter of introduction to Walter Scott, who was living about twenty miles southeast of Edinburgh, and who had expressed himself an admirer of Irving’s History of New York. Irving set out for Edinburgh, determined to make the man’s acquaintance if he could.

Scott was not yet Sir Walter Scott. He had not yet published Ivanhoe, or Rob Roy, or Kenilworth. He was widely acclaimed as a Romantic poet, though, and it was in this role that Irving knew him. Admired him. Okay, he idolized him. Irving disliked Coleridge, disliked Wordsworth, disliked Shelley. But Scott, he adored.

So he appears on Scott’s doorstep, letter in hand, heart pounding, waiting to see if his idol will deign to see him.

He does more than that. Scott insists that Irving join him and his family for breakfast, then keeps him as a close companion for the next three or four days, introducing him to his daughters, showing him the local landscape, and going over with him the drafts of Rob Roy that he was finalizing at the time.

The incident of the rainstorm, the thicket, and the tartan cape was one that Irving would retell over and over throughout his life. He always felt that Scott had taken him under his wing — literally and figuratively — from that time on, and counted his friendship as among the most important and influential in his life.

More immediately, Irving took heart — and inspiration — from his visit with Scott.

His mood improved, and he finally decided that he would earn his living as a writer, or not at all.

In short, he got down to the business of his life.

Several weeks later, Irving’s writer’s block crumbled into dust. He stayed up all night and into the next morning, setting down in nearly final draft form the story that would become known as Rip Van Winkle. Shortly thereafter, he began work on The Legend of Sleepy Hollow. 

Both men would eventually become the literary heroes of their respective countries, inspiring and influencing countless writers and readers who followed in their wake.

Charles Dickens was a big Irving fan, and admitted that he was inspired by the Christmas stories in Irving’s Sketches when he wrote A Christmas Carol.  Mark Twain would later claim — disparagingly — that Scott’s writings formed the foundation of the character of the American South, so widely were they read there.

Scott would receive his baronetcy, and Irving would be hailed as the first true American man of letters, his warm, graceful home in New York’s Hudson River Valley becoming nearly as famous as he was.

But they both always remembered their first meeting in the summer of 1817, how instinctively and immediately they became friends, and how much they valued each other’s company and support throughout all the long, complicated years ahead.

 

Beth Dunn is a blogger, novelist, and geek. She writes at An Accomplished Young Lady, travels frequently to the Hudson River Valley, and presents herself unapologetically on the doorsteps of her literary heroes from time to time, quite often with absolutely marvelous results.

 

The woman who almost married Mozart

MARRYING MOZART

by Stephanie Cowell (Wonders & Marvels contributor)

Mozart almost didn’t marry his lovely wife; he almost married her older sister. And if he had married the sister, I believe we’d be missing a great deal of his music today.

When Mozart was twenty-one and unemployed, he was invited to the home of a violinist Fridolin Weber who had four musical daughters, ages fourteen through nineteen. Aloysia was sixteen: she was gifted with a gorgeous voice and quite ravishing. The other three Weber sisters could not come close to her and she knew it.

Mozart was so much in love that he wanted to turn over his own struggling career to promote her singing. (Again, think what music we may have lost!) But there were several obstacles in his path. Her mother was a bit crazy; she thought Mozart would never make a penny and wanted her beautiful daughter to marry a wealthy man. His father was controlling; he didn’t want his son to marry anyone but to send all his money home (if Mozart ever made any).

Mozart had to travel in search of earnings, and when he finally found his love again in Vienna, she had forgotten him and was now pregnant by a tall and handsome actor. Mozart was not very tall and not very handsome. When his heart healed a little, he found himself as a boarder in the house of the three remaining Weber sisters. He could have married any of then, but that is a complicated story, so complicated that I wrote a novel about it called Marrying Mozart. He settled on the third sister and had a happy life. He also began to make a good deal of money now and then.

Mozart died at the age of thirty-five and his wife spent the remaining fifty years of her life preserving and sharing her husband’s music. By the time Aloysia was quite old, Mozart’s name was famous throughout Europe. One of his admirers came to visit the aging prima donna in Salzburg and Aloysia swore to them that Mozart had never ceased to love her. “But why did you refuse him so many years ago?” the admirer asked bewildered and she replied that at that time she was not capable of appreciating his talent and character…” Hmm.

So he didn’t get the first girl he loved but he got the right one for him and the right one to save his work for posterity. And if it were not for the music Mozart wrote for Aloysia Weber Lange, history would scare remember her name.

About the author: Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Claude & Camille: a novel of Monet and Marrying Mozart. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.