Assuming the power recently lost by the disgraced Cardinal Wolsey, Thomas Cromwell counsels a mercurial Henry VIII on the latter's efforts to marry Anne Boleyn against the wishes of Rome and many of his people, a successful endeavor that comes with a dangerous price. By the Hawthornden Prize-winning author of Eight Months on Ghazzah Street. 40,000 first printing.

Mantel, Hilary

A John Macrae Book Henry Holt and Company

Twenty-First Century Books, Incorporated

Worth Publishers, Incorporated

St. Martin's Press

Fourth Estate

Wadsworth

Picador

Wolf Hall trilogy, 1, First U.S. edition, New York, 2009

1st U.S. edition (5), New York, USA, 2009

United States, United States of America

Thomas Cromwell, bk. 1, London, 2009

A John Macrae book, New York, 2010

1st Picador ed, New York, 2010

First, 2010

topic: Cromwell, Thomas, Earl of Essex, 1485?-1540

Type: 英文图书

Bookmarks:
1. (p1) CAST OF CHARACTERS
2. (p2) FAMILY TREES
3. (p3) PART ONE
3.1. (p4) I. ACROSS THE NARROW SEA. 1500
3.2. (p5) II. PATERNITY. 1527
3.3. (p6) III. AT AUSTIN FRIARS. 1527
4. (p7) PART TWO
4.1. (p8) I. VISITATION. 1529
4.2. (p9) II. AN OCCULT HISTORY OF BRITAIN. 1521-1529
4.3. (p10) III. MAKE OR MAR. ALL HALLOWS 1529
5. (p11) PART THREE
5.1. (p12) I. THREE-CARD TRICK. WINTER 1529-SPRING 1530
5.2. (p13) II. ENTIRELY BELOVED CROMWELL. SPRING-DECEMBER 1530
5.3. (p14) III. THE DEAD COMPLAIN OF THEIR BURIAL.CHRISTMASTIDE 1530
6. (p15) PART FOUR
6.1. (p16) I. ARRANGE YOUR FACE. 1531
6.2. (p17) II. "ALAS, WHAT SHALL I DO FOR LOVE?" SPRING 1532
6.3. (p18) III. EARLY MASS. NOVEMBER 1532
7. (p19) PART FIVE
7.1. (p20) I. ANNA REGINA. 1533
7.2. (p21) II. DEVIL'S SPIT. AUTUMN AND WINTER 1533
7.3. (p22) III. A PAINTER'S EYE. 1534
8. (p23) PART SIX
8.1. (p24) I. SUPREMACY. 1534
8.2. (p25) II. THE MAP OF CHRISTENDOM. 1534-1535
8.3. (p26) III. TO WOLF HALL. JULY 1535
9. (p27) AUTHOR'S NOTE
10. (p28) ACKNOWLEDGMENTS

theme: Cromwell, Thomas, Earl of Essex, 1485?-1540

<DIV><DIV><P>PART 1</P><B><P>Across the Narrow Sea </P></B><P>PUTNEY, 1500 </P><P>So now get up." </P><P>Felled, dazed, silent, he has fallen; knocked full length on the cobbles of the yard. His head turns sideways; his eyes are turned toward the gate, as if someone might arrive to help him out. One blow, properly placed, could kill him now. </P><P>Blood from the gash on his head— which was his </P><P>father’s first effort— is trickling across his face. Add to this, his left eye is blinded; but if he squints sideways, with his right eye he can see that the stitching of his father’s boot is unraveling. The twine has sprung clear of the leather, and a hard knot in it has caught his eyebrow and opened another cut. </P><P>"So now get up!" Walter is roaring down at him, working out where to kick him next. He lifts his head an inch or two, and moves forward, on his belly, trying to do it without exposing his hands, on which Walter enjoys stamping. "What are you, an eel?" his parent asks. He trots backward, gathers pace, and aims another kick. </P><P>It knocks the last breath out of him; he thinks it may be his last. His forehead returns to the ground; he lies waiting, for Walter to jump on him. The dog, Bella, is barking, shut away in an out house. I’ll miss my dog, he thinks. The yard smells of beer and blood. Someone is shouting, down on the riverbank. Nothing hurts, or perhaps it’s that everything hurts, because there is no separate pain that he can pick out. But the cold strikes him, just in one place: just through his cheekbone as it rests on the cobbles. </P><P>"Look now, look now," Walter bellows. He hops on one foot, as if he’s dancing. "Look what I’ve done. Burst my boot, kicking your head." </P><P>Inch by inch. Inch by inch forward. Never mind if he calls you an eel or a worm or a snake. Head down, don’t provoke him. His nose is clotted with blood and he has to open his mouth to breathe. His father’s momentary distraction at the loss of his good boot allows him the leisure to vomit. "That’s right," Walter yells. "Spew everywhere." Spew everywhere, on my good cobbles. "Come on, boy, get up. Let’s see you get up. By the blood of creeping Christ, stand on your feet." </P><P>Creeping Christ? he thinks. What does he mean? His head turns sideways, his hair rests in his own vomit, the dog barks, Walter roars, and bells peal out across the water. He feels a sensation of movement, as if the filthy ground has become the Thames. It gives and sways beneath him; he lets out his breath, one great final gasp. You’ve done it this time, a voice tells Walter. But he closes his ears, or God closes them for him. He is pulled downstream, on a deep black tide. </P><P>The next thing he knows, it is almost noon, and he is propped in the doorway of Pegasus the Flying Horse. His sister Kat is coming from the kitchen with a rack of hot pies in her hands. When she sees him she almost drops them. Her mouth opens in astonishment. "Look at you!" </P><P>"Kat, don’t shout, it hurts me." </P><P>She bawls for her husband: "Morgan Williams!" She rotates on the spot, eyes wild, face flushed from the oven’s heat. "Take this tray, body of God, where are you all?" </P><P>He is shivering from head to foot, exactly like Bella did when she fell off the boat that time. </P><P>A girl runs in. "The master’s gone to town." </P><P>"I know that, fool." The sight of her brother had panicked the knowledge out of her. She thrusts the tray at the girl. "If you leave them where the cats can get at them, I’ll box your ears till you see stars." Her hands empty, she clasps them for a moment in violent prayer. "Fighting again, or was it your father?" </P><P>Yes, he says, vigorously nodding, making his nose drop gouts of blood: yes, he indicates himself, as if to say, Walter was here. Kat calls for a basin, for water, for water in a basin, for a cloth, for the devil to rise up, right now, and take away Walter his servant. "Sit down before you fall down." He tries to explain that he has just got up. Out of the yard. It could be an hour ago, it could even be a day, and for all he knows, today might be tomorrow; except that if he had lain there for a day, surely either Walter would have come and killed him, for being in the way, or his wounds would have clotted a bit, and by now he would be hurting all over and almost too stiff to move; from deep experience of Walter’s fists and boots, he knows that the second day can be worse than the first. "Sit. Don’t talk," Kat says. </P><P>When the basin comes, she stands over him and works away, dabbing at his closed eye, working in small circles round and round at his hairline. Her breathing is ragged and her free hand rests on his shoulder. She swears under her breath, and sometimes she cries, and rubs the back of his neck, whispering, "There, hush, there," as if it were he who were crying, though he isn’t. He feels as if he is floating, and she is weighting him to earth; he would like to put his arms around her and his face in her apron, and rest there listening to her heartbeat. But he doesn’t want to mess her up, get blood all down the front of her. </P><P>When Morgan Williams comes in, he is wearing his good town coat. He looks Welsh and pugnacious; it’s clear he’s heard the news. He stands by Kat, staring down, temporarily out of words; till he says, "See!" He makes a fist, and jerks it three times in the air. "That!" he says. "That’s what he’d get. Walter. That’s what he’d get. From me." </P><P>"Just stand back," Kat advises. "You don’t want bits of Thomas on your London jacket." </P><P>No more does he. He backs off. "I wouldn’t care, but look at you, boy. You could cripple the brute in a fair fight." </P><P>"It never is a fair fight," Kat says. "He comes up behind you, right, Thomas? With something in his hand." </P><P>"Looks like a glass bottle, in this case," Morgan Williams says. "Was it a bottle?" </P><P>He shakes his head. His nose bleeds again. </P><P>"Don’t do that, brother," Kat says. It’s all over her hand; she wipes the blood clots down herself. What a mess, on her apron; he might as well have put his head there after all. </P><P>"I don’t suppose you saw?" Morgan says. "What he was wielding, exactly?" </P><P>"That’s the value," says Kat, "of an approach from behind— you sorry loss to the magistrates’ bench. Listen, Morgan, shall I tell you about my father? He’ll pick up whatever’s to hand. Which is sometimes a bottle, true. I’ve seen him do it to my mother. Even our little Bet, I’ve seen him hit her over the head. Also I’ve not seen him do it, which was worse, and that was because it was me about to be felled." </P><P>"I wonder what I’ve married into," Morgan Williams says. </P><P>But really, this is just something Morgan says; some men have a habitual sniffle, some women have a headache, and Morgan has this wonder. The boy doesn’t listen to him; he thinks, if my father did that to my mother, so long dead, then maybe he killed her? No, surely he’d have been taken up for it; Putney’s lawless, but you don’t get away with murder. Kat’s what he’s got for a mother: crying for him, rubbing the back of his neck. </P><P>He shuts his eyes, to make the left eye equal with the right; he tries to open both. "Kat," he says, "I have got an eye under there, have I? Because it can’t see anything." Yes, yes, yes, she says, while Morgan Williams continues his interrogation of the facts; settles on a hard, moderately heavy, sharp object, but possibly not a broken bottle, otherwise Thomas would have seen its jagged edge, prior to Walter splitting his eyebrow open and aiming to blind him. He hears Morgan forming up this theory and would like to speak about the boot, the knot, the knot <BR><BR><i>Continues...</i> <!-- copyright notice --> <br></pre> <blockquote><hr noshade size='1'><font size='-2'> Excerpted from <b>Wolf Hall</b> by <b>Mantel, Hilary</b> Copyright © 2010 by Mantel, Hilary. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br>Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

In the ruthless arena of King Henry VIII's court, only one man dares to gamble his life to win the king's favor and ascend to the heights of political power
England is a heartbeat from disaster. If the king dies without a male heir, the country could be destroyed by civil war. Henry VIII wants to annul his marriage of twenty years, and marry Anne Boleyn. The pope and most of Europe opposes him. The quest for the king's freedom destroys his adviser, the brilliant Cardinal Wolsey, and creates a years-long power struggle between the Church and the Crown.
Into this impasse steps Thomas Cromwell. Cromwell is a wholly original man, both a charmer and a bully, an idealist and opportunist, astute in reading people and a demon of energy. Cromwell is a consummate politician, hardened by years abroad and his personal losses. Implacable in his ambition and self-taught--it is said that he can recite the entire New Testament from memory, knows Europe's major languages, and speaks poetry freely--Cromwell soon becomes the country's most powerful figure after Henry. When Henry pursues his desire to marry Anne Boleyn, it is Cromwell who breaks the deadlock and allows the king his heart's desire. But Henry is volatile: one day tender, one day murderous. Cromwell helps him break the opposition--Thomas More, "the man for all seasons", Katherine the queen; his daughter the princess Mary--but what will be the price of his triumph?
(front flap)

"Lock Cromwell in a deep dungeon in the morning, ' says Thomas More, 'and when you come back that night he'll be sitting on a plush cushion eating larks' tongues, and all the gaolers will owe him money.' England, the 1520s. Henry VIII is on the throne, but has no heir. Cardinal Wolsey is his chief advisor, charged with securing the divorce the pope refuses to grant. Into this atmosphere of distrust and need comes Thomas Cromwell, first as Wolsey's clerk, and later his successor. Cromwell is a wholly original man: the son of a brutal blacksmith, a political genius, a briber, a charmer, a bully, a man with a delicate and deadly expertise in manipulating people and events. Ruthless in pursuit of his own interests, he is as ambitious in his wider politics as he is for himself. His reforming agenda is carried out in the grip of a self-interested parliament and a king who fluctuates between romantic passions and murderous rages. From one of our finest living writers, Wolf Hall is that very rare thing: a truly great English novel, one that explores the intersection of individual psychology and wider politics. With a vast array of characters, and richly overflowing with incident, it peels back history to show us Tudor England as a half-made society, moulding itself with great passion and suffering and courage."--Jacket

<p class="null1">WINNER OF THE 2009 MAN BOOKER PRIZE WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR FICTION A <i>NEW YORK TIMES</i> BESTSELLER<br>
</p>
<p>England in the 1520s is a heartbeat from disaster. If the king dies without a male heir, the country could be destroyed by civil war. Henry VIII wants to annul his marriage of twenty years and marry Anne Boleyn. The pope and most of Europe opposes him. Into this impasse steps Thomas Cromwell: a wholly original man, a charmer and a bully, both idealist and opportunist, astute in reading people, and implacable in his ambition. But Henry is volatile: one day tender, one day murderous. Cromwell helps him break the opposition, but what will be the price of his triumph?</p>
<p>In inimitable style, Hilary Mantel's <i>Wolf Hall</i> is "a darkly brilliant reimagining of life under Henry VIII. . . . Magnificent." (<i>The Boston Globe</i>).</p>


<p><b>2009 National Book Critics Circle Award Winner- Fiction!</b><br>
<b>2009 Man Booker Prize Winner!</b>
</p>

<p><P>In the ruthless arena of King Henry VIII&#8217;s court,&#160;one man dares to gamble his life to win the king&#8217;s favor and ascend to the heights of political power.</p><h3>The Barnes & Noble Review</h3><p>In Putney, England, in the year 1500, a young man is beaten, almost to death, by his drunken father. "Felled, dazed, silent, he has fallen" in a yard that "smells of beer and blood." It is not the first beating, but it will be the last -- of this kind at least. The youth is Thomas Cromwell (1485?-1540), the central character in Hilary Mantel's astonishing <em>Wolf Hall</em>. He will become Cromwell, Earl of Essex, Master Secretary and "Viceregent of Spirituals" to King Henry VIII, and the chief architect of the Protestant Reformation. Soldier, politician, and power broker, he will be a gentle father himself. And a killer.</p>

Wolf Hall (2009) is a historical novel by English author Hilary Mantel, published by Fourth Estate, named after the Seymour family's seat of Wolfhall, or Wulfhall, in Wiltshire. Set in the period from 1500 to 1535, Wolf Hall is a sympathetic fictionalised biography documenting the rapid rise to power of Thomas Cromwell in the court of Henry VIII through to the death of Sir Thomas More. The novel won both the Man Booker Prize and the National Book Critics Circle Award. In 2012, The Observer named it as one of "The 10 best historical novels".
The book is the first in a trilogy; the sequel [Bring Up the Bodies](https://openlibrary.org/works/OL16547664W) was published in 2012. The last book in the trilogy is [The Mirror and the Light](https://openlibrary.org/works/OL20665410W) (2020), which covers the last four years of Cromwell's life.

Cast of Characters
Family Trees
Part One
Across the Narrow Sea. 1500
Paternity. 1527
At Austin Friars. 1527
Part Two
Visitation. 1529
An Occult History of Britian. 1521-1529
Make or Mar. All Hallows 1529
Part Three
Three-Card Trick. Winter 1529-Spring 1530
Entirely Beloved Cromwell. Spring-December 1530
The Dead Complain of Their Burial. Christmastide 1530
Part Four
Arrange Your Face. 1531
"Alas, What Sall I do for Love?" Spring 1532
Early Mass. November 1532
Part Five
Anna Regina. 1533
Devil's Spit. Autum and Winter 1533
A Painter's Eye. 1534
Part Six
Supremacy. 1534
The Map of Christendom. 1534-1535
To Wolf Hall. July 1535
Author's Note
Acknowledgements

Assuming the power recently lost by the disgraced Cardinal Wolsey, Thomas Cromwell counsels a mercurial Henry VIII on the latter's efforts to marry Anne Boleyn against the wishes of Rome, a successful endeavor that comes with a dangerous price. Employing a vast array of historical characters, and a story overflowing with incident, the author turns Tudor England into a compelling piece of fiction. Mantel re-creates an era when the personal and political are separated by a hairsbreadth, where success brings unlimited power but a single failure means death. -- adapted from jacket

Assuming the power recently lost by the disgraced Cardinal Wolsey, Thomas Cromwell counsels a mercurial Henry VIII on the latter's efforts to marry Anne Boleyn against the wishes of Rome, a successful endeavor that comes with a dangerous price. Employing a vast array of historical characters, and a story overflowing with incident, the author turns Tudor England into a compelling piece of fiction. Mantel re-creates an era when the personal and political are separated by a hairsbreadth, where success brings unlimited power but a single failure means death. -- from Book Jacket

2022-12-23