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Under the White Boar
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Displaying 1 - 4 of 4 reviews
January 22, 2021
This is an interesting and unconventional read. I ended up more or less liking it overall, but there were times when the chronology became rather puzzling - certain events were simply skipped, no doubt in the interests of keeping things simple.
One rather silly bit (to say the least) was where Henry Duke of Buckingham was sexually abused by his much older Woodville wife. They were in reality about the same age, both being carried on the shoulders of squires at Elizabeth's coronation. You would not do that with a grown woman, would you?
There are several better novels about Richard III, but also several that are worse, so I thought 3 stars was fair.
One rather silly bit (to say the least) was where Henry Duke of Buckingham was sexually abused by his much older Woodville wife. They were in reality about the same age, both being carried on the shoulders of squires at Elizabeth's coronation. You would not do that with a grown woman, would you?
There are several better novels about Richard III, but also several that are worse, so I thought 3 stars was fair.
April 24, 2022
Under the White Boar
By Mary Dodgen Few
Reviewed March 28, 2022
Under the White Boar is an interesting look at Richard III who, on the inside dust jacket flap, is described as “perhaps the most maligned character who ever trod the pages of history.” Well now, you won’t find me arguing with that!
The plot follows Richard’s life from an insecure child of eight to a confident adult and concludes with his death at Bosworth. This Richard is undersized, and as a youth might even be described as scrawny, with darker coloring compared to his giant golden siblings. He adores his big brother, Edward, and has to deal with middle brother George’s petty cruelties.
This book was published in 1971, long before the historical Richard’s remains were found and we learned he suffered from scoliosis, and so his having one shoulder higher than the other is explained as being the result of a fall from a tree as a child (a climb instigated by George) and a broken collarbone that isn’t properly set.
But the author got one thing right; she gave Richard blue eyes!
The plot follows what we know of Richard’s life and that of his siblings, with the occasional deviation here and there no doubt for sake of an appealing plot. While some may quibble about this, from a purely story-telling point of view, these historical tweakings generally work.
When news is been received of the death of the Duke of York and his son, Edmund, and Queen Margaret’s army heading toward London, Cecily determines that it is no longer safe for her youngest children to remain in England and informs them that they will go abroad to stay with the Duke of Burgundy until the danger passes. This is where eight-year-old Richard makes his first attempts at asserting himself, and tells his mother that he should remain home with his mother, as England has no need of one so small as he.
“But I wish to stay with you,” dared Richard stepping forward from his place one step behind his brother George. “A lady needs . . . .”
“You will do as you’re told,” Cecily cut him off coldly. “You must always do what England requires of you, not what meets your inclination. Never forget that, Richard.”
His mother’s words will stay with him throughout his life and eventually come back to haunt him when he learns just how far his mother will go to do what she sees as right.
There are several instances where sexual tension is used to heighten the narrative, though it is described with more subtlety than was becoming popular in historical romances at this time.
Edward’s interest in Warwick’s daughter Isabel and his attempt at seducing her provides a different look at things, and ties into later scenes. The scene where the king forces his kisses on her, and gropes at Isabel, at first came across to me as something akin to attempted rape, but it turns out Isabel loves Edward and refuses because she is not a maiden to give her favors outside of marriage. It is Isabel’s rejection, and young brother Richard’s refusal to fetch her when the king wants her brought to his chambers, that sends Edward out the door and into the waiting arms of a certain Lancastrian widow.
Later, Edward and Isabel consummate their love, after she’s married to George. No virginity needs to be protected at this point, and even if she gets pregnant, who’s going to notice that the baby looks like his uncle rather than his father, when the two men are so similar in looks? Besides, George is depicted as a weak-willed creature who takes out his own frustrations on his bride on their wedding night in scene that is nothing more than marriage rape.
Not historically accurate (at least as far as we know) but an interesting bit of artistic license.
On the other end of the spectrum, there is the romance of Richard and Anne. I found this one of the better Richard and Anne relationships as it shows the gradual development of childish friendship to adult love in a way that feels natural and not mawkish and sappy. And I liked Anne’s characterization. No pale, sickly young girl but an animated little chatterbox, always asking questions.
Other relationships are also woven into the story, and the book perpetuates the myth of Catherine Woodville being much older than Harry Stafford, when in fact they were of a similar age. In the story, it is implied that Catherine, as a much older woman, has disregarded the directive not to consummate their marriage until the boy is of age, but instead misuses Harry as her boy toy, which leaves him traumatized.
In another instance of star-crossed lovers, we have Meg – Richard’s sister Margaret – and Francis Lovell. In real life, Margaret was about 10 years older than Lovell. At the time this is brought out, Richard is 15. That would make Francis around 11 or 12, and Margaret, 21. Now I don’t know about you, but I have a hard time imagining a 21-year-old woman in love with a boy 10 years her junior. But in books like this, facts are often discarded for what the author sees as a good story line.
At the beginning of the book, there is a clever little poem about “TEN little Englishmen” that is obviously inspired in style and content by the nursery rhyme, “Ten Little Indians.” In addition to the rhyme, there are drawings that go along with each verse, and these are found at the beginning of each chapter as well as on the cover art.
I found the drawings decently rendered but with an amateurish feel. The same for the map on the inside cover, as well as the dust jacket itself, and these made me wonder if the book was self-published. So I tried to find the publisher, Droke House/Hallux, online, but no luck. All I could find were a few books published mainly in the 1970s (as this book was) as well as references to a now defunct company.
For a book of this period, there are an awful lot of typos, something that also left me with the impression of something self-published. For example, I came across the word “plumb” when from the context it was obvious the word should be “plum”; there was “georgeous” for “gorgeous”; “short shift” instead of “short shrift” (leaving me to picture someone literally running around in a short shift), and an assortment of others. In fact, the book’s previous owner (I got my copy from a second-hand bookseller) had also noted the numerous typos as I found a slip of paper between a couple pages on which was a lengthy list of page and paragraph numbers enumerating the misspellings and incidents of improper word usage.
But these things don’t make Under the White Board a bad story On the contrary, while not a piece of great literature, it is an agreeable read even if, like so much Ricardian fiction, it occasionally plays fast and loose with the facts as we know them. This book is perfect for a summer afternoon at the beach when you want something lightweight and easy to read. That the author is (or was, I have no idea if she is still with us) a devout Ricardian is evident from her handling of the material, and I will never fault a person for that. That she also engages her imagination to come up with some interesting and, in a couple instances, unique interpretations of events gives this book a flavor all its own.
By Mary Dodgen Few
Reviewed March 28, 2022
Under the White Boar is an interesting look at Richard III who, on the inside dust jacket flap, is described as “perhaps the most maligned character who ever trod the pages of history.” Well now, you won’t find me arguing with that!
The plot follows Richard’s life from an insecure child of eight to a confident adult and concludes with his death at Bosworth. This Richard is undersized, and as a youth might even be described as scrawny, with darker coloring compared to his giant golden siblings. He adores his big brother, Edward, and has to deal with middle brother George’s petty cruelties.
This book was published in 1971, long before the historical Richard’s remains were found and we learned he suffered from scoliosis, and so his having one shoulder higher than the other is explained as being the result of a fall from a tree as a child (a climb instigated by George) and a broken collarbone that isn’t properly set.
But the author got one thing right; she gave Richard blue eyes!
The plot follows what we know of Richard’s life and that of his siblings, with the occasional deviation here and there no doubt for sake of an appealing plot. While some may quibble about this, from a purely story-telling point of view, these historical tweakings generally work.
When news is been received of the death of the Duke of York and his son, Edmund, and Queen Margaret’s army heading toward London, Cecily determines that it is no longer safe for her youngest children to remain in England and informs them that they will go abroad to stay with the Duke of Burgundy until the danger passes. This is where eight-year-old Richard makes his first attempts at asserting himself, and tells his mother that he should remain home with his mother, as England has no need of one so small as he.
“But I wish to stay with you,” dared Richard stepping forward from his place one step behind his brother George. “A lady needs . . . .”
“You will do as you’re told,” Cecily cut him off coldly. “You must always do what England requires of you, not what meets your inclination. Never forget that, Richard.”
His mother’s words will stay with him throughout his life and eventually come back to haunt him when he learns just how far his mother will go to do what she sees as right.
There are several instances where sexual tension is used to heighten the narrative, though it is described with more subtlety than was becoming popular in historical romances at this time.
Edward’s interest in Warwick’s daughter Isabel and his attempt at seducing her provides a different look at things, and ties into later scenes. The scene where the king forces his kisses on her, and gropes at Isabel, at first came across to me as something akin to attempted rape, but it turns out Isabel loves Edward and refuses because she is not a maiden to give her favors outside of marriage. It is Isabel’s rejection, and young brother Richard’s refusal to fetch her when the king wants her brought to his chambers, that sends Edward out the door and into the waiting arms of a certain Lancastrian widow.
Later, Edward and Isabel consummate their love, after she’s married to George. No virginity needs to be protected at this point, and even if she gets pregnant, who’s going to notice that the baby looks like his uncle rather than his father, when the two men are so similar in looks? Besides, George is depicted as a weak-willed creature who takes out his own frustrations on his bride on their wedding night in scene that is nothing more than marriage rape.
Not historically accurate (at least as far as we know) but an interesting bit of artistic license.
On the other end of the spectrum, there is the romance of Richard and Anne. I found this one of the better Richard and Anne relationships as it shows the gradual development of childish friendship to adult love in a way that feels natural and not mawkish and sappy. And I liked Anne’s characterization. No pale, sickly young girl but an animated little chatterbox, always asking questions.
Other relationships are also woven into the story, and the book perpetuates the myth of Catherine Woodville being much older than Harry Stafford, when in fact they were of a similar age. In the story, it is implied that Catherine, as a much older woman, has disregarded the directive not to consummate their marriage until the boy is of age, but instead misuses Harry as her boy toy, which leaves him traumatized.
In another instance of star-crossed lovers, we have Meg – Richard’s sister Margaret – and Francis Lovell. In real life, Margaret was about 10 years older than Lovell. At the time this is brought out, Richard is 15. That would make Francis around 11 or 12, and Margaret, 21. Now I don’t know about you, but I have a hard time imagining a 21-year-old woman in love with a boy 10 years her junior. But in books like this, facts are often discarded for what the author sees as a good story line.
At the beginning of the book, there is a clever little poem about “TEN little Englishmen” that is obviously inspired in style and content by the nursery rhyme, “Ten Little Indians.” In addition to the rhyme, there are drawings that go along with each verse, and these are found at the beginning of each chapter as well as on the cover art.
I found the drawings decently rendered but with an amateurish feel. The same for the map on the inside cover, as well as the dust jacket itself, and these made me wonder if the book was self-published. So I tried to find the publisher, Droke House/Hallux, online, but no luck. All I could find were a few books published mainly in the 1970s (as this book was) as well as references to a now defunct company.
For a book of this period, there are an awful lot of typos, something that also left me with the impression of something self-published. For example, I came across the word “plumb” when from the context it was obvious the word should be “plum”; there was “georgeous” for “gorgeous”; “short shift” instead of “short shrift” (leaving me to picture someone literally running around in a short shift), and an assortment of others. In fact, the book’s previous owner (I got my copy from a second-hand bookseller) had also noted the numerous typos as I found a slip of paper between a couple pages on which was a lengthy list of page and paragraph numbers enumerating the misspellings and incidents of improper word usage.
But these things don’t make Under the White Board a bad story On the contrary, while not a piece of great literature, it is an agreeable read even if, like so much Ricardian fiction, it occasionally plays fast and loose with the facts as we know them. This book is perfect for a summer afternoon at the beach when you want something lightweight and easy to read. That the author is (or was, I have no idea if she is still with us) a devout Ricardian is evident from her handling of the material, and I will never fault a person for that. That she also engages her imagination to come up with some interesting and, in a couple instances, unique interpretations of events gives this book a flavor all its own.
December 7, 2020
This novelization of Richard III’s life begins in standard fashion with the 8-year-old boy idolizing his older brother Edward who is the one person who loves and protects him. Richard also takes to heart the noble ideals of duty and loyalty that he has been taught.
When Richard is placed in the household of the Earl Warwick for his knightly training, the story takes a detour into bedroom farce. Not only is Richard at Middleham, but so are brother George, sister Margaret (Meg), mother Cecily Neville, and cousin Harry Buckingham. Even big brother Edward, now king, makes frequent visits. The only person not to be much in evidence is Warwick himself. Meg and Francis Lovell fall in love, as do Edward and Warwick’s 13-year-old daughter Isabel. Edward commands 12-year-old Richard to bring Isabel to his chambers. Richard argues that it isn’t right but is forced to comply. As things are getting pretty hot and heavy between them, a frightened Isabel flees when Edward balks at the suggestion of marriage. Edward sees Richard outside his chamber and blames his “God-damned righteousness” for ruining the encounter. Later Edward tells Richard he will make him Admiral of England if he will only forgive him. No need, replies Richard. Of course.
Rebuffed, Edward leaves Middleham and “Isabel’s loving arms” for the "greedy arms of Elizabeth Woodville" at Grafton Regis—which seems to be over in the next dale according to this book. Isabel is supposed to be the love of Edward’s life and they do have a mutually satisfying meeting (arranged by sister Anne) when Warwick takes Edward prisoner. However, we don’t hear anything about this great love after Warwick’s family flees England. (And who really was the father of Isabel’s stillborn child?)
Oh, did I mention the bit where young Richard intercedes for his 12-year-old cousin Harry Buckingham to save him from the clutches of that “aging slut” Katherine Woodville who was using him as her “boy toy.”
Anyway, after Warwick’s failed rebellion, the story resumes its serious tone. Richard and his wife Anne are noble; almost everyone else in England is not. Is there any reason for a Ricardian to read this book, apart from a couple of laughs? Well, as far as I know, the person it posits as the murderer of the princes is surprising—a unique solution. Also, Richard’s reaction and his general disillusionment are fairly well done. At least the last 30 of the 219 pages are worthwhile.
When Richard is placed in the household of the Earl Warwick for his knightly training, the story takes a detour into bedroom farce. Not only is Richard at Middleham, but so are brother George, sister Margaret (Meg), mother Cecily Neville, and cousin Harry Buckingham. Even big brother Edward, now king, makes frequent visits. The only person not to be much in evidence is Warwick himself. Meg and Francis Lovell fall in love, as do Edward and Warwick’s 13-year-old daughter Isabel. Edward commands 12-year-old Richard to bring Isabel to his chambers. Richard argues that it isn’t right but is forced to comply. As things are getting pretty hot and heavy between them, a frightened Isabel flees when Edward balks at the suggestion of marriage. Edward sees Richard outside his chamber and blames his “God-damned righteousness” for ruining the encounter. Later Edward tells Richard he will make him Admiral of England if he will only forgive him. No need, replies Richard. Of course.
Rebuffed, Edward leaves Middleham and “Isabel’s loving arms” for the "greedy arms of Elizabeth Woodville" at Grafton Regis—which seems to be over in the next dale according to this book. Isabel is supposed to be the love of Edward’s life and they do have a mutually satisfying meeting (arranged by sister Anne) when Warwick takes Edward prisoner. However, we don’t hear anything about this great love after Warwick’s family flees England. (And who really was the father of Isabel’s stillborn child?)
Oh, did I mention the bit where young Richard intercedes for his 12-year-old cousin Harry Buckingham to save him from the clutches of that “aging slut” Katherine Woodville who was using him as her “boy toy.”
Anyway, after Warwick’s failed rebellion, the story resumes its serious tone. Richard and his wife Anne are noble; almost everyone else in England is not. Is there any reason for a Ricardian to read this book, apart from a couple of laughs? Well, as far as I know, the person it posits as the murderer of the princes is surprising—a unique solution. Also, Richard’s reaction and his general disillusionment are fairly well done. At least the last 30 of the 219 pages are worthwhile.
February 4, 2021
A book not badly written and with some good charachterizations (Richard III's above all). And it's clear the author did much research before writing it. The negative side is that it's stuffed of too many improbable plot points, so for me is a three stars.
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