By Susan Bordo
“Bordo’s sharp examining of Boleyniana and her transparent affection for this proud, strange girl make this an enjoyable, provocative read.”—Boston Globe
Part biography, half cultural background, The production of Anne Boleyn is a reconstruction of Boleyn’s lifestyles and an illuminating examine her very lively afterlife within the well known mind's eye. With contemporary novels, video clips, and tv indicates, Anne has been having a twenty-first-century second, yet Bordo exhibits what number generations of polemicists, biographers, novelists, and filmmakers have imagined and reimagined her: whore, martyr, cautionary story, proto-“mean girl,” feminist icon, and every thing in among. Drawing on scholarship and razor-sharp research, Bordo probes the complexities of 1 of history’s such a lot interesting ladies, teasing out what we really find out about Anne Boleyn and what we predict we all know approximately her.
“Riveting . . . Bordo’s eloquent research not just recovers Anne Boleyn for our occasions yet additionally demonstrates the ways that legends develop out of the faintest wisps of historic fact.” —Book Page
“Engrossing . . . Ms. Bordo deals a desirable discussion.”—New York Times
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Additional info for The Creation of Anne Boleyn: A New Look at England's Most Notorious Queen
Neither King Henry’s boastful energy nor Anne Boleyn’s pernicious impression might hinder the common and lasting influence of the Christian death-bed of Catharine . . . And now Anne herself was once to endure the penalty of her depraved ambition. ”30 The outdated Protestant/Catholic divide used to be nonetheless in operation too. And regardless of the starting to be tendency to differentiate among “commercial” biographies, beautiful to the sensibilities of woman readers, and “real” historical past, which had “accuracy and significance” as its guiding lighting fixtures, no works of the interval, by way of males or girls, have been freed from undisguised, and infrequently strident, ethical agendas and biases. Henry William Herbert, in Memoirs of Henry the 8th of britain: With the Fortunes, Fates, and Characters of His Six better halves (1856), refers condescendingly in his preface to “the lighter and extra gossiping sketches of the lady-biographers of the queens” and accuses either Benger and the Stricklands of being inspired by means of “false sympathy for his or her intercourse. ”31 this is often the way in which, he says, “in which girls write background pertaining to women. ”32 yet Herbert’s view of Anne and Katherine isn't a lot assorted from the previous Catholic propaganda: Anne was once a “vain,” “wily,” and “cruel persecutress,” whereas Katherine was once a residing saint: “I understand of no lady, recorded in veritable historical past, or portrayed in romance, who techniques so approximately to perfection . . . there has been no speck to mar the loveliness, no shadow to dim the perfection, of her perfect, Christian womanhood. ”33 He criticizes John Knox for his “fierce, illiberal, enthusiast” hostility towards Queen Mary, yet even supposing Knox was once a blatant misogynist, it's only Benger and the Stricklands who're charged with “buckler[ing] the reason for their intercourse, instead of that of fact. ”34 he's particularly livid with Benger for having no longer even “the smallest regard to consistency or truth”35; yet his personal paintings is peppered with either the previous mythology, taken unquestioningly from Chapuys and Sander, and a few new gildings, as novelistic as something present in the “ladies’ histories. ” I see, in her each stream, a deep selection to win the sport, in any respect risks; I see it in her coyness at one time, in her consent in one other; and primarily, I see it within the implacable, unrelenting hatred with which she pursued all those that adverse her marriage to the king,—Wolsey to damage; extra and Fisher to the block . . . I learn base contention [with Katherine] and vicious triumph; I mark her ungentle persecution of the fallen queen’s orphan baby, bastardized for her aggrandizement; I see the triumphal gown of yellow36, worn on that fallen rival’s funeral day; I listen the exulting speech—“At size i'm the queen of England”—it wishes now not the mind's eye of a Shakespeare to conceive, if it could tax his powers to create, the phantom of the abused, departed royalty, floating in vengeful majesty athwart the trail of the exulting attractiveness, and replying to the depraved vaunt, “Not lengthy! now not lengthy! ”37 really, even if Herbert offers himself as a qualified historian, his “histories” weren't even more than a pastime.
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