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WINNER OF THE 2012 MAN BOOKER PRIZE
The sequel to Wolf Hall, Hilary Mantel's 2009 Man Booker Prize winner and New York Times bestseller, Bring Up the Bodies delves into the heart of Tudor history with the downfall of Anne Boleyn.
Though he battled for seven years to marry her, Henry is disenchanted with Anne Boleyn. She has failed to give him a son and her sharp intelligence and audacious will alienate his old friends and the noble families of England. When the discarded Katherine dies in exile from the court, Anne stands starkly exposed, the focus of gossip and malice.
At a word from Henry, Thomas Cromwell is ready to bring her down. Over three terrifying weeks, Anne is ensnared in a web of conspiracy, while the demure Jane Seymour stands waiting her turn for the poisoned wedding ring. But Anne and her powerful family will not yield without a ferocious struggle. Hilary Mantel's Bring Up the Bodies follows the dramatic trial of the queen and her suitors for adultery and treason. To defeat the Boleyns, Cromwell must ally with his natural enemies, the papist aristocracy. What price will he pay for Anne's head?
Bring Up the Bodies is one of The New York Times' 10 Best Books of 2012, one of Publishers Weekly's Top 10 Best Books of 2012 and one of The Washington Post's 10 Best Books of 2012
- Sales Rank: #12666 in Books
- Brand: Mantel, Hilary
- Published on: 2013-05-07
- Released on: 2013-05-07
- Original language: English
- Number of items: 1
- Dimensions: 8.15" h x .82" w x 5.57" l, .67 pounds
- Binding: Paperback
- 432 pages
Amazon.com Review
Amazon Exclusive: Hilary Mantel on How She Wrote Bring Up the Bodies
Origins of the Book
Bring Up the Bodies is the second part of my trilogy about Thomas Cromwell, chief minister to Henry VIII. I have been interested in Cromwell for years, and wanted to get beyond the negative portrayal of him in popular history and fiction. He was a ruthless man, certainly, but no more so than other contemporary politicians; and in Henry, a man of violent temper, he had a very demanding employer. As soon as you get back beyond the prejudices about Cromwell, you find a clever, enterprising, resilient and optimistic man, with a story well worth telling. He was at the center of Henry's court for almost ten years, and when you look at events from his point of view, they seem very different from the stories of the Tudor court to which we've grown accustomed.
Originally I thought I would tell the story in just one book. But as I made progress with Wolf Hall, I discovered the richness and depth of the material. I was glad to alter my plans. Now the project will reach a conclusion in The Mirror & The Light, the book that is still ahead of me.
How is it different from Wolf Hall?
Wolf Hall takes in a huge span of time, describing Cromwell's early life, and reaching back into the previous century, to show the forces that shaped England before he was born. The foreground action of the book occupies several years, ending in July 1535, on the day of the execution of Cromwell's political antagonist, Thomas More.
The action of Bring Up The Bodies occupies only nine months, and within that nine months it concentrates on the three weeks in which Henry's second wife, Anne Boleyn, is arrested, tried and executed for treason. So it is a shorter, more concentrated read. There are no diversions once the plot against Anne begins to accelerate, and the tension builds as her death approaches.
It's quite possible to read Bring Up The Bodies without reading Wolf Hall. It makes sense in its own terms. But I think a reader will get a deeper experience by starting with the first book and seeing the characters evolve.
Space: What's on your desk, in your office, on the walls, outside your window? Describe your writing space. Where do you go when you can't write there?
My office is in my apartment on the East Devon coast. Before my desk there is a big window, and beyond that a shingle beach and the sea. On my large pine desk there's just my laptop, my working papers, and my diary, plus a silver dial that tells the time in the world's major cities. I have a mouse mat with the Holbein image of Thomas Cromwell on it; my husband magicked this up from somewhere. I keep my pens and markers in a china pot with a picture of Henry VIII, which came from the National Portrait Gallery in London. On my left there is a whiteboard which I use to plan each chapter as I write, and also to scribble down any fleeting thoughts; if I'm elsewhere in the apartment it's the whiteboard I run to, to catch a phrase I'm afraid might slip away. I can write anywhere, though; I long ago learned to write and polish a paragraph in my head. And I do a lot of work in my notebooks when I'm travelling, shuttling up to London on the train. I write in the car too; in the passenger seat, I should add.
Soundtrack: What/who do you listen to? Why? How? (headphones, computer, radio?)
I can hear the sea. Nothing else is as good as that. Noise doesn't distract me, necessarily, but if I put on music I quickly blank it out.
Tools: Pens? Notebook? Computer (Mac or PC)? Special software?
Most of my work originates in longhand. I like writing by hand but I have 2 sorts of handwriting; one is quite decorative, and the other is as plain as possible and as legible as possible, my note-taking hand which I use when I copy from a document. At a certain stage I rip up my notebooks and shuffle the pages into some sort of order in ring-binders; from those I work straight on to my pc. I’ve been writing on the screen since 1986, at which point I was into my third book. But I'm old enough to remember the toil in the days of typewriters and messy, smudgy carbon copies.
Words: What are you reading? Do you read anyone to prime the pump, so to speak? Or to escape your own writing?
On the whole I prefer not to read fiction when I'm hard at work on my own writing, because I find it difficult to make the commitment a novel requires, to enter into someone els's imaginary world. Instead I devour newspapers and read books on medicine, psychology, social studies. But much of my reading is tied to research for my Cromwell novels. If I get stuck while I'm writing, if my sentences feel arid, then reading poetry sometimes works. It restores some essential sense of rhythm.
Inspiration: Do you do anything to get inspired? Exercise? Walk? Nap? Hobbies?
Two almost infallible methods for me. If I'm stuck part way through developing a scene, I get into the shower. When you are dripping water, that's when the words start to flow: at the moment of maximum inconvenience. For bigger problems, going to sleep is good. Fresh material swims up as I wake.
If everything is out of proportion, if I'm overwhelmed and mentally tired, a walk by the sea helps. I've always wanted to live by the sea and thought it would be good for me, and the last year's work on Bring Up The Bodies seems to have proved it. This time last year, the book was just a few boxes of notes.
Photo credit: Francesco Guidicini
From Bookforum
In the sequel [to Wolf Hall], Bringing Up the Bodies, which transpires over the year following the execution of More, there is little to mitigate Cronwell's chief task, which is to arrange for the king's wife to be killed at his behest . . . The novel's pace is a slow creep of ghoulish inevitability. The rot seeps and spreads, and Cromwell gains in menace what he loses in sympathy. — Jessica Winter
Review
“Mantel knows what to select, how to make her scenes vivid, how to kindle her characters. She seems almost incapable of abstraction or fraudulence; she instinctively grabs for the reachably real...In short, this novelist has the maddeningly unteachable gift of being interesting.” ―The New Yorker
“[Bring Up the Bodies] is astringent and purifying, stripping away the cobwebs and varnish of history, the antique formulations and brocaded sentimentality of costume drama novels, so that the English past comes to seem like something vivid , strange and brand new.” ―The New York Times Book Review
“Two years ago something astonishingly fair happened in the world of prestigious prizes: the Man Booker Prize and the National Book Critics Circle Award for fiction for 2009 both went to the right winner. The book was Hilary Mantel's Wolf Hall, and it would have dwarfed the competition any year…It was a hard act to follow. But the follow-up is equally sublime…That ironic ending will be no cliffhanger for anyone even remotely familiar with Henry VIII's trail of carnage. But in Bring Up the Bodies it works as one. The wonder of Ms. Mantel's retelling is that she makes these events fresh and terrifying all over again.” ―The New York Times
“Bring Up the Bodies isn't just her boldest book; it's also her best -- and it reaffirms Mantel's reputation as one of England's greatest living novelists.” ―NPR
“Hilary Mantel made waves in 2009 with her Man Booker Prize-winning page-turner, Wolf Hall…The second in her planned trilogy, Bring Up the Bodies stalks Anne Boleyn and the soap-opera worthy machinations of Cromwell and his evil allies to bring down the powerful wife of the king. Who knew history could be so sexy?” ―Vanity Fair
“What's being called the Wolf Hall Trilogy is a remarkable work in progress, a series that makes the past feel immediate and--this is the best part--unpredictable. Even if you know the history, you'll find yourself racing through these pages to find out what happens next.” ―People
“After pulling off this literary feat twice, you realize the smartest person in the room isn't Cromwell after all--it's Mantel.” ―The Huffington Post
“the finest works of historical fiction in contemporary literature.” ―The Washington Post
“Fans of Wolf Hall will relish this book, but Bring Up the Bodies also stands alone…Her characters are real and vivid people who bring to life the clash of ideals that gripped England at the time. She makes the past present and vital.” ―The Economist
“Bring Up the Bodies stands magnificently on its own...such is [Mantel's] skill” ―LA Times
“You won't be able to tear your eyes away.” ―The Seattle Times
“the worst that can be said about Mantel--her latest book makes you angry, because you want more.” ―Slate
“In Mantel's hands, Cromwell's cunning, morally complicated orchestration of that historic slice through the royal neck is as exciting as any thriller.” ―Entertainment Weekly
“With wit, daring style, and a staggering breadth of historical knowledge, Mantel breathes new life into reclaimed territory.” ―Bookslut
Most helpful customer reviews
646 of 672 people found the following review helpful.
As exceptional as Wolf Hall, if not better. Exceeded my expectations.
By sb-lynn
Brief summary and review, no spoilers.
This novel is the second book of a trilogy based on the life of Thomas Cromwell. Hilary Mantel's first book, Wolf Hall: A Novel won the Man Booker Award, and deservedly so.
Whereas Wolf Hall covered a relatively long period of time - from Cromwell's humble and difficult upbringing to his becoming King Henry's closest confidant and Master Secretary - the action in this book covers just over a year. This novel begins in Sept. of 1535, and King Henry has been married to Anne Boleyn for just under 3 years. She has given birth to a daughter, Elizabeth, but like Queen Katharine before her she has failed to produce a male heir.
Anne Boleyn and her family have many enemies, both because of her haughty attitude and because of the circumstances of her marrying King Henry. England is in turmoil and deeply divided over Henry's break with the Vatican and over his controversial annulment to his beloved first wife, Katharine of Aragon. Tensions come to a head when Jane Seymour, one of Anne's ladies in waiting comes to the attention of King Henry, and then again when Anne miscarries a son on the same day Queen Katharine is buried. Henry wants out of his marriage and this does not bode well for Anne.
I think it was a wise idea to break up Cromwell's life into this trilogy. Although the time period in this book is short, it is an important time in history and one that is controversial and debated to this day. There are still open questions as to whether or not Anne Boleyn committed treason and adultery and whether or not Queen Katharine had consummated her marriage to King Henry's brother before he married her. I am not going to give away what Mantel surmises in this novel. It is part of the enjoyment in reading Bring in the Bodies to read that for yourself.
I loved Wolf Hall, and I may have even loved this novel a little more. In Wolf Hall sometimes it was hard to tell who's voice was narrating. This was not the case (for the most part) with this book. I never thought I'd be so entranced with the story of Thomas Cromwell's life, but Mantel has given us such an intimate and fascinating look at this man who played such a pivotal role in history. The Cromwell in these novels is smart, witty, and above all, very likable. And if at times in this novel the "likable" becomes a little strained, we still for the most part root for him.
I am writing this review at almost 2am because I could not put this book down. The prose is eloquent, the descriptions are evocative, and the reader will absolutely be transported back to sixteenth century Tudor England. You will also find yourself reading certain passages over and over again simply because they are so perfect. And did I mention that you will find yourself laughing out loud at times?
I cannot recommend this book enough. This series, so far, has become one of my favorites of all time. I am eagerly awaiting the conclusion to this trilogy, although I dread both the thought of it ending and then reading about what I know from history, must ultimately happen.
* If you're wondering whether you can read this book before reading Wolf Hall, I would say you could and this book stands on its own - but I recommend against it because there are certain references and flashbacks to events that happen in the first book that would be lost. To get the most out of Bring up the Bodies I would first read Wolf Hall, where you are first introduced to Thomas Cromwell and get to really understand who he is and how he became the man he did.
240 of 255 people found the following review helpful.
Mr. Secretary Cromwell: "sleek, plump and densely inaccessible"
By S. McGee
That's how Hilary Mantel describes Thomas Cromwell in the afterword to this tour de force, the second novel in a trilogy that follows one of the men most instrumental in transforming Henry VIII and his reign, the man who dedicated his life to the study of the king and how to fulfill the latter's wishes and desires. After years of rising in the king's service and having to battle with the old guard, the nobles and gentlemen -- "flattering them, cajoling them, seeking always an easy way of working, a compromise" -- Cromwell is now indispensable to Henry. He also is one of the first to realize, within the first 50 pages of the book, that the king's despair at his lack of an heir nearly three years after his marriage to Anne Boleyn, and Cromwell's own frustration with these nobles, can be neatly resolved at the same time. "I have probably, he thinks, gone as far as I can to accommodate them. Now they must accommodate me, or be removed."
If you have already read Wolf Hall: A Novel and relished Mantel's ability to capture a period in time now nearly five centuries distant, you may as well stop reading this review immediately and hit the "buy now" button to order this sequel, because the second volume in the proposed trilogy is even better. The focus is tighter - on the nine months or so leading up to the fall and execution of Anne Boleyn -- and once again Mantel recounts the events through the eyes of the consummate politician, Cromwell, who has learned well from Machiavelli and who yet still earns the understanding of readers, if not always our sympathy. Cromwell's motivations and goals may be sympathetic -- he seeks to run the kingdom well, to find a way to school and support male orphans who are abandoned (and who thus will support the female orphans), to mentor educated young men -- even when what it takes to do that makes us squirm with unease. Even when those ends justify the means of getting rid of a queen who has not done her duty. "If she will not go, she must be pushed, and I must push her, who else?" To that end, justice becomes utilitarian: it is not who is guilty, so much as what they may be guilty of, and what guilt is of use to Cromwell, acting on the king's behalf.
This is historical fiction at its best. I've been reading novels set in the Tudor era since I picked up Murder Most Royal: The Story of Anne Boleyn and Catherine Howard by Jean Plaidy more than 40 years ago, and after the deluge of novels set around Anne Boleyn's rise and fall -- many of them pedestrian or thinly-disguised romances in fancy clothes -- had given up on any hope of finding a really good novel in the midst of all the pages written about Henry and his wives. But here it is. Mantel has crafted a novel that is not only about Henry and Anne, but about their era; about the unease that prevails in a kingdom with no legitimate male heir to a dynasty only two generations old and whose reigning monarch has turned his realm upside town by rejecting the pope's rule. She writes about the transformation of Tudor England, as men of ability, knowledge and focus, ranging from Cardinal Wolsey in the first volume to Cromwell and his apprentices (some of whom will outlive Henry) displace the nobility as the king's top advisors, to the disgruntlement of the dukes and earls and their scions. At the same time, Mantel never allows the substance to detract from the fact that she is telling the story of one man; of Cromwell, who rises to power because his elders and betters recognize the unique combination of ability and tenacity. (Here there are flashbacks to Cromwell's earlier life, chronicled in part in Wolf Hall: A Novel, showing how during his days on the continent, Cromwell began working as a common laborer only to be "talent spotted" and brought into the accounting house of a powerful Italian merchant.)
One of the criticisms of Mantel's first book in this trilogy was her frequent use of "he" in place of Cromwell, which some readers found awkward. In this case, she has taken pains in some points to address that, replacing a simple "he" with "he, Cromwell" and although there were a few points in the early pages where I was occasionally unclear as to who was thinking or speaking, I quickly found this retreated to the background. Indeed, I began to get a glimpse of what Mantel may be trying to accomplish with this. If Cromwell is as "densely inaccessible" as she suggests in her afterward, then a first person narrative would be too intimate; would give the reader too much insight too early into his actions and motivations. Mantel's style strikes the perfect compromise. Cromwell is the narrator; we are clearly seeing the Tudor court and England through his eyes, and we don't see the thoughts or views of other characters, except through the latters' actions; we are clearly following Cromwell throughout. And yet Cromwell is always "he"; an opaque and guarded individual. Even while we get a glimpse inside his thoughts and actions as if he were addressing a diary, we can never pretend we understand him -- and it becomes all too clear why, as some of his household remind him, his mere presence can terrify people. So his final confrontations with those who stand in the way of the king and his wishes are all the more revelatory. I hadn't thought there was much more to say about the downfall of Anne Boleyn, or much to say about Cromwell: I was very wrong on both counts.
I raced through this novel, finding it impossible to put down, and now am a bit irritable that I'll have two or three years to wait to read the concluding episode in the trilogy. That's a real tribute to anyone crafting a historical novel, as I already know what happens to Cromwell himself, when, and possibly why. But now that I have read the first two books in this series, I can't wait to see how Hilary Mantel presents the "why", because I'm quite certain that she will once again present readers not only with a "thumping good read" but a novel that defies all expectations. As Wolf Hall: A Novel ended with an execution, and with a new beginning, so does this novel, and Cromwell must once again find a way to deal not only with his monarch (as he refines his imagined "Book of Henry", a guide on how to deal with the king and his moods and whims) but with an enigmatic new queen and her family. After all, as he muses, "Henry's women come trailing families, he does not find his brides in the forest hiding under a leaf."
This novel is a brilliant accomplishment; I'd urge anyone interested in history to read it as a matter of course, and even those who were lukewarm about its predecessor to at least give it a try, as I think it is better, and more focused. (I'd still rate both books as the full five stars, however.) The style, the tight plotting, the characterizations, and Mantel's ability to capture England itself and the mundane details of 16th century English life, are without parallel. This goes straight to the top of the list of the best novels I've read this year, and I can't see how it might be displaced.
197 of 224 people found the following review helpful.
A good, if imperfect, sequel to Wolf Hall
By Liat2768
Hilary Mantel's book 'Bringing up the Bodies' is the sequel to her phenomenal Booker Prize winning book 'Wolf Hall. It continues the story of Thomas Cromwell; self made man, secretary chief minister and adviser to Henry VIII at one of the most tumultous times in British History.
Bringing up the Bodies picks up where Wolf Hall left off. Anne Boleyn is the new queen and Cromwell has gained in influence in the court. Initially the book suffers a little, as many sequels do, by trying to remind the reader of what occured in the previous novel. The author repeats some stories almost verbatim but the story quickly settles down as a continuation of the previous novel.
Mantel chooses to focus her attention on the slow fall of Anne Boleyn almost to the exception of all else. The destruction of the Monastic system in England and other political upheavals have to take a back seat to the drama between the King and Queen. Politics and schemes abound and Cromwell is mired in a crowd willing to betray him at any moment. I think the author misstepped in implying that all the men accused of having affairs with Anne Boleyn were those who had participated in one single event ridiculing Cardinal Wolsey. The idea that Cromwell, who everywhere else in the books is a practical man, would use such a public method to gain revenge seems transparently sensationalist on the author's part.
The book is also quite vague about whether Anne Boleyn was actually guilty of the crimes she was accused of. Cromwell runs through incidences he can use as proof against her and rumors he collects to bolster up his case. I think part of what Mantel's Cromwell is doing is building his legal case in his head and checking for loopholes that might come up. I don't think that Mantel is implying that she was truly guilty of every one of the crimes, but that it was expedient for Cromwell and the king for her to be convicted. Eliminating Anne Boleyn was a necessity for him since the king wanted it so. Conveniently, Anne is depicted as a scheming, desperate woman who is easily disliked by the reader. Her intelligence and her desire to use the wealth from the Dissolution of the Monasteries for charitable purposes are not depicted well even though it is entirely probable that this clash with Cromwell set them against one another.
As a sequel to Wolf Hall, I found myself comparing the two novels and found that the sequel, while still very readable, suffers in comparison. Wolf Hall could dwell on Cromwell, the man, and wonder at his hidden history and it was in the unknown events of his past that Mantel's writing was strongest. However, Cromwell's ruminations from the first book are mostly missing here. His emotional life as grieving widower and his loneliness are mentioned occassionally but mostly the book is too busy covering history to dwell on the inner Cromwell. Perhaps he is meant to be older and more decisive and less prone to sentimental thinking but that is what made the Cromwell of Wolf Hall fascinating.
I think that Mantel fails in historical accuracy in this book. Wolf Hall could be entirely believable due to the lack of historical documentation of the events and interactions depicted there. But Bringing up the Bodies seriously falters if you are a reader who knows more than a little about the history of the time. Of course, with so little written about Cromwell, Mantel has free rein to interpret the facts but now she is writing in a time period when many studies about those facts do exist and it becomes very evident that this is Historical Fiction and that the author does take license with the events and, if you believe in learning the history, you had better double check for accuracy.
Wolf Hall ended with the execution of Thomas More and Bringing up the Bodies ends with the execution of Anne Boleyn once the machinations and schemes by Cromwell ensure her condemnation.
The book is by no means the end of Cromwell's story. There is a new wife for Henry to be brought in and Cromwell's downfall to be arranged . . . but for that we will have to wait for the last book in the trilogy.
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