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Dragon's Lair


Dragon's Lair Cover



Author Q & A

A Conversation with Sharon Kay Penman

Q: Like the rest of your fiction, this novel is set in medieval Europe.

What drew you to this particular time and place? And what

keeps you there?

Sharon Kay Penman: Well, I spent twelve years working on my

first novel, The Sunne in Splendour, and by the time it was done, I

was hopelessly hooked on the Middle Ages. It is very familiar terrain

to me now, after setting nine books in that era, so each time

I begin a new book, it is like coming home. That doesn’t mean I’d

have wanted to live back then, though; I am much too fond of our

century’s creature comforts!

Q: Who or what inspired the character of Justin?

SKP: Justin is not based upon any particular person; I never do

that for purely fictional characters. He just “came” to me during

some long walks in the woods with my dogs.

Q: Justin is such a lonely character. Does much of his loneliness

stem from the fact that he is trapped between two worlds—that of

the highborn and the lowborn?

SKP: Yes, I wanted a character who would have the perspective of

an “outsider,” someone who did not quite belong in either of his


Q: What does Justin gain and lose because of his class “mobility”?

SKP: You might say that Justin is a social chameleon, that he is

able to take on the coloration of his surroundings. He can maneuver

in the shark-filled waters of the royal court, yet he is also

capable of blending in at the corner tavern or alehouse, a very

useful attribute for a spy. But he lives in a world in which people

are defined by birth, a concept utterly alien to Americans. He

is very drawn to Molly; there is a strong connection between

them, one that is emotional as well as sexual. Yet it would be difficult,

if not impossible, for them to have a future together. The

flip side of this coin is that marriage to the Lady Claudine is also

beyond his grasp.

Q: Justin does not let himself think too hard or long about

whether or not Richard is worth the money, effort, and lives that

his ransom costs. Is the price too high?

SKP: Knowing what I know about Richard’s kingship, I’d say the

price was much too high. But I am looking at it from a modern

perspective. In Justin’s world, few would even raise that question.

One of the cornerstones of a class system is that all people are not

created equal, and a consecrated, crowned king was at the very pinnacle

of the social pyramid.

Q: Have we heard the last of Molly and Bennet?

SKP: Not at all! Molly and Bennet appear in the next mystery, and

I expect them to be complicating Justin’s life for some time to come.

Q: Is Justin’s understanding of his father going to continue to


SKP: Of course. Theirs is an ongoing, evolving relationship, and

there will be advances and retreats, backsliding and detours. It is

not an easy road, but they are traveling it together, if not always


Q: Will we learn more about the identity of Justin’s mother?

SKP: Yes, eventually Justin and the readers will learn more about

his mother. I don’t mean to sound cryptic or mysterious—well, I

guess I do—but his father has good reason for wanting to keep her

identity secret. And that is as much as I can say!

Q: Since Claudine is unwilling to consider marriage to Justin,

what is going to happen to their child?

SKP: You’ll have to keep reading the books to find out, won’t you?

I will tell you that more about the baby will be revealed in the

next mystery, Prince of Darkness.

Q: Notable among the many important and thought-provoking

themes in this novel (which also appear in your other work) is your

focus on the conflicts and differences between medieval English and

Welsh culture and society. Would you talk about this tension and

what you find so compelling about it?

SKP: This was a clash of cultures, a war of attrition between a

predatory feudal society and a tribal Celtic one. When I moved to

Wales more than twenty years ago and began to research Here Be

Dragons, I was fascinated from the first by the Welsh medieval laws,

by the discovery that women enjoyed a greater status in Wales than

elsewhere in Europe. By our standards, Welshwomen were not that

emancipated, but in comparison to their French and English sisters,

they enjoyed a remarkable degree of freedom. A Welsh girl became

her own mistress when she reached the age of puberty and could

not be forced into marriage against her will. She was not automatically

denied custody of her children if her husband died or the marriage

ended, as was the case on the other side of the border. She

could even end the marriage herself. And a woman who bore an infant

out of wedlock had one great advantage over all of her sisters

in Christendom: An illegitimate child acknowledged by the father

had full rights of inheritance and was on equal footing with his or

her siblings born in wedlock. Medieval Welsh law did not punish

the child for the sins of the parents, an enlightened position that

can be truly appreciated only when we consider how many centuries

it would take to gain widespread acceptance elsewhere.

Q: You make clear the very real limitations women of all backgrounds

faced in medieval Europe. How challenging is it to create

plausible opportunities and interesting experiences for your female


SKP: It is very challenging, truthfully. Women did not have as

many options as men, and I need to reflect that reality in my mysteries.

So whether I am writing of a woman of Claudine’s class or

one of Molly’s, I try to stay true to the boundaries and constraints

that each would have encountered. A woman of high birth was

blessed with certain freedoms that Molly would never enjoy, among

them the freedom from hunger or want. But Molly had freedoms

that were denied to Claudine, such as the right to chart her own

course and make a marriage of her choosing.

Q: Would you agree that Eleanor and Emma have a great deal in


SKP: Superficially, yes. They were strong-willed women, fortunate

from birth, for both were said to be beautiful and both were born

into families of privilege and power. Eleanor was the daughter and

heiress of the Duke of Aquitaine, married at fifteen to the young

King of France. She acquired that high rank through no actions of

her own. But when she later became Queen of England, that was

very much her own doing. One of the reasons why Eleanor continues

to fascinate us so is because she did not always play by the

rules of her world, rules that made it virtually impossible for a

woman to exert much control over her own destiny. Eleanor dared

to break these rules, and although she paid a high price for her

willingness to rebel, I like to think that, on her deathbed at the advanced

age of eighty-two, she had few regrets. Emma, of course,

was never a great heiress like Eleanor; she was the illegitimate

daughter of Count Geoffrey of Anjou and thus sister to England’s

King Henry. Hers was the more traditional fate for women of

the nobility, a political pawn wed to a Welsh prince because her

brother the king decreed it. We know little of Emma’s external

life, nothing whatsoever of her interior one. I suspect, though, that

she had more regrets than Eleanor.

Q: Justin leaves Angharad mourning a man who never existed.

Was this the kindest or wisest choice Justin could have made?

SKP: Under these particular circumstances, I think it was both a

wise and a kind decision. But if Justin were forced to choose between

the two, he would always err on the side of kindness.

Q: Which would upset John more: learning of Durand’s role as

Eleanor’s spy or as his own protector?

SKP: Very interesting question. I think John would be most offended

by the notion that Eleanor saw him as being in need of

Durand’s protection. John’s jealousy of his brother Richard was a

destructive force in his life. Putting it in modern terms, Richard

was the Golden Son, the best beloved, and John was the afterthought,

John Lackland, forever measuring himself against the Lionheart

and forever coming up short.

Q: I would like to ask you a question you raise in your author’s

note: What is the responsibility of the historical novelist?

SKP: I cannot answer for other historical novelists; I can only offer

my own guidelines. In writing my historical novels, I have to rely

upon my imagination to a great extent. I think of it as “filling in

the blanks.” Medieval chroniclers could be callously indifferent to

the needs of future novelists. But I think there is a great difference

between filling in the blanks and distorting known facts. Whenever

I’ve had to tamper with history for plot purposes, I make sure

to mention that in my author’s note, and I try to keep such tampering

to a bare minimum. I also attempt to keep my characters

true to their historical counterparts. This is not always possible, of

course. Sometimes all we know of a medieval man or woman are

the stark, skeletal outlines of their lives, rather like the chalk drawing

of the body at a crime scene. And some historical figures are

so controversial—Richard III is a good example—that I feel comfortable

drawing my own conclusions. But if I were to deviate dramatically

from the traditional portrayal of a person who actually

lived, I would feel honor-bound to explain to my readers in my author’s

note why I chose this particular approach.

Q: Do you need to work from a detailed outline to ensure historical


SKP: I use a detailed outline for the mysteries, but that is more to

avoid any plot holes than to ensure historical accuracy. I use an

outline for chapters in both the mysteries and my historical novels,

in order to have a road map when I am beginning a book.

Q: Sharon, you were writing your first novel in your “spare” time

while in law school when the only copy of your manuscript was

stolen. What happened next?

SKP: The first manuscript for The Sunne in Splendour disappeared

from my car when I was moving to an apartment during my years

in law school. The car was crammed with the usual college student’s

possessions, including a small television, but the only thing

taken was a notebook containing my novel. At that point I’d been

working on it for more than four years, and its loss was very traumatic

for me. For the next six months, I would periodically ransack

my apartment, deluding myself that I had somehow “missed”

it during those other, futile searches, and I was unable to write

again for the next five and a half years. I never learned what had

happened to the manuscript. The most logical explanation is that

one of the children playing in front of the apartment complex had

wandered over to the car and snatched the notebook on impulse.

It was either that or vengeful Tudor ghosts, and I find it hard

to believe any of them were hovering over Lindenwold, New Jersey.

Q: What is the most notable book you have read recently?

SKP: I am currently reading a fascinating novel called Star of the

Sea by Joseph O’Connor; it takes place in 1847, aboard a ship of

Irish refugees who are fleeing the Great Hunger and seeking to

start life anew in America. I haven’t finished it yet, but I can say for

a certainty that the first two-thirds of the novel are utterly compelling

so far.

Q: If you could create your own reading group composed of notable

historical figures, whom would you include, and what would

the group read?

SKP: My own reading group? I think I would want Eleanor of

Aquitaine and Henry II in my group; they’d definitely liven up

meetings. And Elizabeth Tudor and Cleopatra and Napoleon and

Abraham Lincoln and Mark Twain. I would also invite the Welsh

poet-prince Hywel ab Owain, who did a star turn in my novel

Time and Chance, and the tragic nine-day queen, Jane Grey. Now

what would they read? I wouldn’t dare suggest my own books to

such a high-powered group. I think we’d read one of Shakespeare’s

plays, possibly Richard II or King Lear or, if they were in the mood

for lighter fare, Much Ado About Nothing.

Q: If you could spend a day living the life of one of your characters

in Dragon’s Lair, whose life would you choose?

SKP: I think I would like to follow in Llewelyn’s footsteps, for he

was blessed with that rare combination of confidence, humor, and

optimism tempered by reality, so I’d probably have the most fun

living his life—although I’d rather not step into his shoes on a day

when he was fighting a battle.

Q: Can you tell us anything about Justin’s next adventure?

SKP: Justin’s next adventure will be Prince of Darkness, which we

hope to publish in early 2005. I am working on it now and am

giving poor Justin a rough time. Due to circumstances beyond his

control, he finds himself on the “pilgrimage to Hell and back,” as

John wryly describes it, a journey made in the company of the

three people he’d least like to be traveling with: his hostile ally,

Durand de Curzon; his sometime love, the Lady Claudine; and his

unforgiving adversary from Dragon’s Lair, the Lady Emma. It’s a

journey that takes him from the streets of Paris to castles in Brittany

and then to one of the most celebrated of medieval shrines,

the island abbey of Mont-Saint-Michel.

Product Details

Penman, Sharon Kay
Ballantine Books
Mystery & Detective - General
Mystery & Detective - Series
Mystery & Detective - Historical
Mystery fiction
Historical fiction
General Fiction
Mystery Historical
mystery;historical fiction;fiction;medieval;england;eleanor of aquitaine;historical mystery;12th century;justin de quincy;wales;historical;richard i;plantagenet;henry ii;middle ages;medieval mystery;fantasy;american
Edition Description:
Trade paper
Ballantine Reader's Circle
Publication Date:
Grade Level:
8 x 5.26 x 0.72 in 0.8 lb

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Fiction and Poetry » Mystery » A to Z
Fiction and Poetry » Mystery » Historical

Dragon's Lair Used Trade Paper
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Product details 352 pages Ballantine Books - English 9780345434234 Reviews:
"Synopsis" by , Bestselling author Penman returns with the third in her medieval mystery series set in the reign of Dowager Queen Eleanor of Aquitaine. Her first was an Edgar nominee and her second brought her the Romantic Times award for mystery writing. Her third is her best.
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