Tidelands

It was a cold dawn on the harbor, the tide coming in fast over snowy reeds and icy puddles, the seagulls crying white against the gray light. The barn owl, quartering the hedge line along the harbor, was bright against the dark hedge and then invisible against the frozen bank. A few flakes of snow filtered from the pewter clouds as Alys helped her mother to the seat of the wagon and climbed up beside her.

Alinor was shuddering with cold, and she constantly coughed into the hem of her cloak. Tenderly Alys took up the reins, putting her other arm around Alinor, who rested her head on her daughter’s shoulder. Alys clicked to the horse to start up the road to London.

AUTHOR’S NOTE

A few years ago I realized that, though I still loved my fictionalized biographies of well-known and lesser-known women, I wanted to write a different sort of historical fiction: actually a series of books tracing the rise of a family from obscurity to prosperity. I reread the Forsyte Saga and discovered that my favorite scenes were the few and rather minor moments when the principal character went back to explore his ancestral home. As a reader, I wanted to know more about the story before the saga; as a writer, I understood that I wanted to write a historical fiction series of many generations of an ordinary family.

So many of us are exploring our family histories these days because we want to know who our ancestors were and what they did. Some of us take that very deep, exploring epigenetics. Some of us want to trace our connections with peoples and landscapes that are now strange to us. Some of us find remarkable echoes of our own modern lives in the historical past, as if we have inherited gifts or skills or preferences. Most families are like my family: with the earliest documents showing a family as humble and poor and, by little ordinary acts of courage and years of perseverance, largely unrecorded, rising and prospering—and sometimes, of course, declining.

What is interesting to me as a historian is how the fortunes of every family reflect in their small way the fortunes of the nation. We are all the products of both national and family history. What is interesting to me as a feminist is how these fortunes are so often invisibly guided by women. What is interesting to me as a novelist is whether it is possible to tell a fictional story which tells a historical truth: what the world and the nation were like at the time, what the individuals were thinking, doing, and feeling, and how change comes about for them all.

This is a big ambition, and it’s going to be, I hope, a big series, starting with this novel set in an obscure and isolated area of England during the English Civil War, tracing the family through the Restoration, through enlightenment, and empire. I don’t know how far my family will travel nor do I know when their story will end. I don’t know how many books I will write nor in how many countries they will make a home. But I do know that when I write about ordinary people rather than royals, the story at once becomes more surprising; and when I write about women, I am engaging with a history which is almost always untold.

Between writing the novels for this series I am working on a history of women in England. My interest has moved from the individual women of the court to the millions of women of town and country. I am finding women written off by previous historians as “ordinary,” whose experiences are obscured by time and lost to history—widely regarded as not worth recording in the first place. But these are our foremothers—interesting to us for that reason alone. These are women making the nation, just as much as their more visible better-recorded fathers, brothers, and sons. Thinking like this about women’s history has led me inevitably to want to write a different sort of historical fiction—the fiction of an unwritten history.