Hilary Mantel: The Mirror and the Light

These comments were made periodically as I read the tome so the early ones are more free-standing while, I hope the latter/last ones are more all-embracing.

I noticed quite early on that there was an intriguing 1984/’thought-crime’ element. Speculation about the King (health/plans/succession…). The extraordinary and terrifying impact of Henry, his personality, and moods looms over almost every page – a terrifying presence.

I like the style in which it is written; yes we are seeing things through Cromwell’s eyes but there is also an element where his voice ‘stands back’ from the action as if he is observing what is going on like a detached narrator. But of course we only see and hear what he does and only with the understanding that he has. It’s a very self-conscious first-person narrator’s voice, which I do not think I have come across before. And the occasional use of the third person emphasizes this in places.

However, I felt relatively early on that the book is overlong – and this was maintained throughout my reading of it. There are certain scenes where there just seems to be word spinning. For me, the best parts are the direct encounters between the characters, which, I assume, could be very effectively lifted direct into both the play and the TV adaptation. These scenes have great narrative drive and as they are often interspersed with his own thoughts, it gives a very good and effective picture as to how thoughtful and considered Cromwell was in what he said and did. Finally, however, he was not quite thoughtful and careful enough as it is made clear from the start that Henry does can and will, turn on anyone – and very suddenly too.

The central role of Holbein was interesting – and I felt that this could be the basis for a very interesting book. He comes across as a very ‘present’ and significant player, although perhaps dismissed by the courtiers as a mere servant. The same with the fascinating ambassador Chapuys – the great survivor.

The scene with the arrival of the leopard at Cromwell’s house was good – perhaps the symbolism (in several areas) was a little heavy handed but it was a very effective scene.

As the end approached, I like the increasing emphasis on Cromwell’s relationship with his father – I suppose his relationship with Henry was, in one way, a search for a missing father figure but it was also an equally abusive relationship. Cromwell was never able to escape where he came from and what happened to him in his earliest years. Hw was always looking for a father figure.

The interrogation of Cromwell at the end was an excellent example of marvelously dramatic writing that, as suggested earlier, could be translated directly to stage or screen in the adaptation of the novel.

There was a marvelous and very powerful ending.

A superb book – but I suppose now I should go back and read the other two volumes, given how long ago it was since I read them.