Barbara Hambly has been one of my favorite writers for years. She is such a good writer. I read her Science Fiction/Fantasy novels, following her through the Dog Wizard fantasy and James Asher vampire novels to the Benjamin January mystery series.
The Nubian’s Curse is number 20.
The arrival of a woman January knew in Paris to New Orleans raises memories of a suspicious death in a haunted house. Was it really haunted and was the death from a malevolent ghost – or was it murder?
Now the murder of the man on scene in Paris, who arranged to marry the wealthy heiress left orphaned, raises more questions. Ben is asked to investigate.
As usual, the society in New Orleans – the Quadroon Balls, the custom of keeping a placee, a free woman of color who is mistress to a wealthy white man, the casual racism and the slavery, are front and center in these amazing mysteries. Highly recommended.
It is not necessary to read these in order but I would.
From the preponderance of female figures on seals and in frescoes, archaeologists believe Crete worshipped a Supreme Goddess, probably a fertility Goddess from Neolithic times. (Similar to Astarte.)There is some dispute whether the statuary depicting women with snakes in their hands are representations of the Goddess or Priestesses engaged in a ritual.
note the tiered skirt, the short-sleeved jacket and the tight belt around the waist.
Besides the Supreme Goddess, there was a pantheon of Gods and Goddesses. Poseidon, the God of the Oceans and Earthquakes, is one. (He was adopted by the mainland Greeks with almost no change.) Dionysus is another God, a very old one. A vegetation God, he is the God of wine as well as the Master of Animals. Unlike the Gods and Goddess of Classical Greece, Dionysus is not immortal. He is born each spring, grows to manhood throughout the year, and dies in winter.
One particularly interesting feature of Dionysus is his birth, in a cave and nourished by nanny goats. Sound familiar? The Cretan Zeus, a relative latecomer to the pantheon, is ascribed the same birth story. In Classical times, the same tale is told of Zeus’ birth, (although with a myth about the Titans surrounding it.) Zeus, of course, was elevated to the major God for the Classical Greeks.
The Goddesses are more complicated. Were they individuals or aspects of the Supreme Goddesses? Maybe a mix of the two? Aphrodite is connected to the Bronze Age and her name is pre-Greek. Artemis was a virgin, and the hunt was sacred to her, just as the Classical Greeks believed. Hera was another important Goddess. Shrines to her have been found in Crete. She was responsible for childbirth, a task she shared with Artemis. In the Classical Greek pantheon, she was reduced from being an important Goddess in her own right to Zeus’s jealous wife.
Britomartis meaning Sweet Virgin or Sweet Maiden, was worshipped by the fishermen. Her other name is Diktynna for the nets the fishermen used. I took her name and used the second half, Martis as the name of the protagonist in In the Shadow of the Bull and the sequels.
What about the Minotaur? Was the bull-headed man a God?We know that bulls were very very important in Ancient Crete. The statuary and frescos of bull leapers and the many representations of bulls is proof of that. But, was the Minotaur sacred? I choose to believe that the Minotaur was a creation of the Mainland Greeks, representing something they did not understand – rituals involving masked priests.
As excavations and study of this amazing culture continues, I’m sure we discover more about their religion.
After Arge dies, poisoned as she stands at the altar on her wedding day, she returns as a spirit to ask Martis for help in identifying the killer.
Willies, spirits of young girls who were murdered before they married or had children, were a common feature of ancient myth. Sometimes they were good, sometimes not, but almost every myth includes the haunting of the family by these willies, usually for many years. Seven or nine seem to be the usual numbers. It was necessary for the families to perform the proper rituals to prevent disaster.
Fertility – both of people and livestock, was important for the health of the community. One reason for this is the danger associated with childbirth. One estimate I read of maternal death in childbirth was put at between 40 and 50%. Infant mortality was as high, and of course of those who survived birth, a large percentage did not make it to their fifth birthday. But I digress.
In Martis’ case, the spirit of her sister Arge is helpful. The question is this, is the spirit Martis sees truly a ghost of is it the voice of Martis’s subconscious? The reader has to decide.
I chose Arge because, in this way, Martis can have help figuring out what she’s seen and heard without involving someone who might be a suspect.
First, a note. My website went down on Friday for some as yet unknown reason. However, after a discussion with Bluehost, it is now working again. So, this is the blog I would have written on Thursday.
This Bronze Age civilization was the pinnacle of sophistication and culture in the Mediterranean. Their art – the paintings, mosaics, sculpture, jewelry – even their pottery – was much sought after. Excavations on mainland Greece, Turkey and Egypt have found remnants of these trade goods.
They were also noted for their textiles, especially a purple dye. The murals, sculptures, and sculptures reveal clothing dyed many colors. Indigo was known. (In fact, our name for this blue comes from the Greek name – which went into Latin – for Indian. The dye was originally exported from India. Madder was also known, although the Minoans also knew of the cochineal beetle for scarlet.
But the dye for which they are known is Tyrian purple, a deep color extracted from tens of thousands of murex snail shells. The dye was so expensive that it became known as Royal purple.
The one color they did not have was green unless they overdyed blue and yellow. A green dye was discovered in the 1800’s, but since it was made with copper arsenide, it was incredibly toxic.
What do we know about the cosmetics used by the women in Ancient Crete and the clothing they wore? Because we have no written records, archaeologists (and writers like me) are forced to rely on interpretations of murals, statuary and other art work.
Cosmetics were commonly used in the Ancient World: Egypt, the Middle Ages, and Asia. In Egypt and Mesopotamia, they were used by both men and women and all classes. Kohl was the most commonly used cosmetic. Kohl was made from galena, a dark gray ore and crushed charcoal, mixed with gum or water to make a paste. Cosmetics were so important cosmetic palettes were found buried in gold with the deceased’s grave goods.
Kohl was used for lining the eyes, like modern eyeliner. It offered health benefits in the form of protection from disease, bugs and sun rays. Red ochre clay was ground up and mixed with water to create a paste to paint on the lips and cheeks.
The murals also show the hairstyle fashionable at that time. Locks of hair were brought over the front of the shoulders. Most of the hair was drawn back from the forehead and decorated with pearls, gold beads or gems. Both sexes wore their hair in this manner.
Note in the graphic above the white ribbon at the back of the women’s necks. This was a sacral knot worn by the priestesses.
Finally, the murals and statuary depict a certain style of dress. All the women wear long skirts, usually ruffled or arranged in tiers, with a short short-sleeved jacket. Opinions vary about what women wore under the jacket. Were they nude or did they wear a blouse? It is difficult to tell from the artifacts available to us.
Below, a statue of a goddess or priestess holding snakes.
Minoan statue
Notice the elaborate belt around her wasp waist. Apparently, tiny waists were also the fashion and tight belts were worn to accentuate it. These wasp waists and tight belts were worn by men as well as by women.
This is the setting I use for In The Shadow of the Bull, a mystery set in Bronze Age Crete. Martis’s preference for more comfortable clothing, and only a loincloth when she is bull leaping, is frequently mentioned. As she grows up, she too adopts the tiered skirt with its tight belt and the short-sleeved jacket.
Writing Historical Fiction has some unique issues. (So does writing mysteries but those usually revolves around plot.) Conveying a compelling setting is one difficulty. The writer wants to make the reader feel the culture and the time period – without using the dreaded data dump. Descriptions must be seeded throughout the story like pepper grains, not lumped in a pile. And the descriptions of the clothing, the food, the buildings – they can’t stop the flow of the action. Believe me, this is hard. At best, the writer uses the setting in an organic manner. I wrapped my cloak around me against the cold rain – for example.
Second is the issue of characters. For example, in my latest book, In the Shadow of the Bull, Martis is fifteen. But that is just a child, right? As I discussed last week, age is relative. Even in this country, and not so long ago, girls were allowed to marry at fifteen – or even younger. Because girls married young, Martis knows she will be expected to marry in a few years. Her only escape is to follow the Virgin Goddess Artemis, and never marry.
Another challenge is culture. What language does the writer use? Language that was common not long ago is offensive now. While we may deplore that, it still asks a question: should a writer use language that was accurate to the time but offensive now? Any writer who sets a story in the past of the United States wrestles with this one.
Language ties in to the culture. In the past, and not a very distant past, a number of groups were marginalized. Writing a story in the 1950s South doesn’t mean that LBGTQ+ people didn’t exist, just that they were hiding. In Bronze Age Crete, current scholarship suggests a complicated structure of slavery. A child’s status might rest on where he or she was born rather than the status of the mother.
Finally, one of the most difficult issues to address is what the reader brings to the book. I have had disputes with readers about certain facts, despite verifying a fact with documentary proof. Some readers just know they are correct and will flame you for not agreeing with them. This is by far the most frustrating, especially since the writer does not know where these beliefs come from.
Outside of the usual difficulties of writing a book, (grammar, character development, plot, setting) the historical writer faces a raft of unique problems,
