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Something Red: A Novel
Something Red: A Novel
Something Red: A Novel
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Something Red: A Novel

Rating: 4 out of 5 stars

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From debut author Douglas Nicholas comes a haunting story of love, murder, and sorcery.

During the thirteenth century in northwest England, in one of the coldest winters in living memory, a formidable yet charming Irish healer, Molly, and the troupe she leads are driving their three wagons, hoping to cross the Pennine Mountains before the heavy snows set in. Molly, her lover Jack, granddaughter Nemain, and young apprentice Hob become aware that they are being stalked by something terrible. The refuge they seek in a monastery, then an inn, and finally a Norman castle proves to be an illusion. As danger continues to rise, it becomes clear that the creature must be faced and defeated—or else they will all surely die. It is then that Hob discovers how much more there is to his adopted family than he had realized.

An intoxicating blend of fantasy and mythology, Something Red presents an enchanting world full of mysterious and fascinating characters— shapeshifters, sorceresses, warrior monks, and knights—where no one is safe from the terrible being that lurks in the darkness. In this extraordinary, fantastical world, nothing is as it seems, and the journey for survival is as magical as it is perilous.
LanguageEnglish
Release dateSep 18, 2012
ISBN9781451660234
Something Red: A Novel
Author

Douglas Nicholas

Douglas Nicholas is an award-winning poet, whose work has appeared in numerous poetry journals, and the author of four previous books, including Something Red and Iron Rose, a collection of poems inspired by New York City. He lives in New York’s Hudson Valley with his wife Theresa and Yorkshire terrier Tristan.

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Reviews for Something Red

Rating: 3.9812030105263156 out of 5 stars
4/5

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  • Rating: 5 out of 5 stars
    5/5
    I love this book. It's moody, engaging, and beautifully written. I wallowed in the lovely prose and was frightened by the menace.
  • Rating: 3 out of 5 stars
    3/5
    A lovely story and well told. The lack of five stars comes from feeling dunned and bludgeoned by “look at all the research I did!” People in media res, in the midst of carrying on with their lives, little remark on things ordinarily around them. Yet these folk and the narrator do so on every single page. It feels wrongly done, like reading an academic paper as much or more than a tale intended to be immersive.
  • Rating: 4 out of 5 stars
    4/5
    Vivid descriptions as if the author was a true witness. Characters are fine, not amazing. Story is somewhat small; no revelations.
  • Rating: 4 out of 5 stars
    4/5
    Something Red captures the purest elements of suspense: the fear of the unknown, of the mundane suddenly becoming unreal. The tale is told from the perspective of Hob, a thirteen-year-old boy recently apprenticed into a motley band of travelling musicians. Hob's companions are Jack, a dark and silent man of impressive strength and great gentleness, Nemain, a beautiful red-haired girl of about Hob's age, and Molly, the mysterious and powerful healer and leader of the group. As the band travels about the northwest of England, their ordinary experiences of travel are repeatedly interrupted by terrifying deaths and maulings that defy all attempts of defence and protection. As the fear steadily grows, it is unclear which is more terrifying: the mysterious beast deep in the shadows of the forest or the unknown monster within the group itself.

    The book itself defies categorization. Although the blurb describes it as a combination of mystery, fantasy, and romance, I would consider it much more of a historical novel or coming-of-age story with a touch of the supernatural. The plot itself details the characters' trek across the country as they attempt to avoid the mysterious being that seems to stalk their very footsteps. Although there is a continual and brilliantly constructed feeling of suspense and fear of the unknown, to me, the story lacks the action-driven focus of a thriller. The mystery itself is not particularly complex; there are very direct hints throughout of the individuals involved, although the actual mechanism has a fantastic and unexpected twist. hover for spoiler

    It instead feels focused on the experiences of the journey and their effects on Hob as he grows into manhood. The title itself perfectly captures the mood of the story, for the suspense and fear stems from the unknown, from the “something” glimpsed in the dark shadows of the forest, the ambiguous hints about the gruesome secrets of one of his companions, and his own confused feelings for the red-haired Nemain as he stands on the threshold of maturity. Red, the colour of blood, takes on the attributes of both violence and life. “Something red” becomes allegorical of Hob's fear of and fascination with the unknown as he transitions to adulthood.

    One of the aspects that brought this story to life was the beautifully detailed renderings of the characters' surroundings. Nicholas truly breathes life into the world he creates via the elaborate details he provides. He also clearly did an enormous amount of research, and his love of the time period imbues his descriptions with a palpable combination of magic and familiarity. Nicholas' style is almost cinematographic in the depth of its visual detail. The characters' surroundings are described in so much depth that they become characters and entities in themselves. One particular moment, when Hob's senses are alive to potential attack and the entire world seems to grow silent, stood out for me. Nicholas perfectly captures that sense of inner stillness, of the world holding its breath, despite the ongoing mundane conversations that continue around Hob. I almost felt as though I could hear the faint breathing of the ox and the droning of one of the pilgrims as my ears strained to capture the whispers of danger around me.

    Compared to the landscapes, the characters themselves felt curiously incomplete to me, rough sketches in an immersive and exquisitely painted landscape. Much of the narrative and description is provided by the third-person limited narrator, who, although ostensibly from Hob's perspective, does not precisely channel Hob's thoughts. Instead, the point of view is more distant, clearly telling the story to those removed from the environment. When the surroundings are described, the narrator often provides details about standard practices of the time, such as cleaning the rushes on the floor of the Great Hall during feasts. These details help to provide the wonderful lifelike realism of Nicholas' world, but in some sense detract from a feeling of closeness to Hob, since they are clearly outside of both his current experiences and his thoughts. Most of the action and narrative is provided from this third perspective, and in fact there is surprisingly little dialogue between characters. Often, I was told of Hob's thoughts or provided with summaries of conversations rather than experiencing the conversations themselves. This distanced me from the characters, for I could not hear them speak and was not privy to the details and quirks that would bring them to life. Robert, a knight that the travellers encounter and who is encumbered with a troublesome horse, is one of the most vocal characters. His dialogue and comedic antics with the horse made him, for me, one of the most rounded characters in the story.

    However, the personalities I could glimpse in the characters were excellent. Molly, in particular, stood out to me, for she completely defies the standard fantasy female tropes. Although attractive, she was not given unearthly beauty; instead, she is comfortably padded and of ripe years. Formidable in both intellect and skills, she is easily the match of all the men she encounters. She defies the current religious ethics by continuing to contact and be guided by the old gods of Ireland, and it is her will which guides the actions of the others.

    Overall, Something Red is a perfect read for a person looking for a unique read that defies categorization and is independent of standard fantasy tropes. The story provides a window into a beautifully researched and detailed world of the thirteenth century, with an edge of the supernatural so closely tied to historical folklore that does not feel out of place or contrived. Something Red is the perfect novel to pick up for a poetic, deep, haunting, and immersive journey.

    I received this as an ebook from the publisher, Simon & Schuster, Inc., via NetGalley.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    I was wary of all the extravagantly glowing reviews I saw on Goodreads for Something Red (which I received from the publisher through Netgalley, thank you to them). In many cases it's simply a sign that the author has a lot of cooperative friends. I'm happy to report that this is not the case here. I was dismayed by the formatting of the ARC on my Kindle; it was a mess. The decorative elements of the text, while very nice, played harry with the reader program, and it took persistence just to get from one chapter to the next. However – well, two things. First, I pushed through despite the issues; I have been known to quit a book because of excessive formatting problems (there are just too many in queue to waste time on something that fights me), but this time I wanted to read this book. What's wonderful about this is (the second thing): I made a comment on Goodreads when I started – and the author got in touch with me for more details to pass on to the publishers to fix it. Which they did. Mostly. Except that new problems cropped up. But I'm sure the final product will be sorted. This book deserves a beautiful format (which, Mr. Nicholas tells me, is exactly what the hardcover is – I look forward to seeing it). I keep trying to think of other books to compare this to, and I'm finding it difficult. Maybe that's why I've had trouble writing a review for it. It's a sneaky book. What could be very dull, traveling through forest in the winter, is turned into a small masterpiece of suspense as the travelers – Molly, a temporarily dispossessed Irish queen and her tiny caravan of an ox, a mule, two carts, and three of her kin, adopted and blood – pick their way through the coldest winter in living memory to trade and heal and maintain the bonds. The tribulations of journeying on muddy roads through a freezing and vast forest are detailed without every becoming tedious – and part of the beautiful way this is accomplished is through the boy Hob, whose perspective is used, and his relationship with the animals who pull their wagons. The ox and mule are given personalities better than a good number of human characters I've encountered in lesser books. And those basic difficulties of travel begin to pale next to the fear that suddenly comes one evening as they draw near a monastery where they will take shelter. "He felt like a coney in a snare, and he could not tell why." There's something in the trees. They can't see it, really, but they – humans and animals – know it's there. It's a predator, and nothing so clean a killer as a wolf or a bear, nothing so stupid as a brigand. They can feel its malice, and its attention … and it is a tremendous relief for the little group when they meet up with other travelers. There are no stereotypes in Something Red. The individuals within these pages look askance at expectations, and walk the other way shaking their heads in disgust. The people – and the events, and the setting ... this is thirteenth-century England, in the very dead of winter, and almost as alien as Narnia. Maybe more. In this England there are small enclaves of people huddling together for survival, and travelers – like Molly and her troupe and the holy and unholy travelers they encounter – move from haven to haven trading what they have, such as music and news and healing, for shelter from the elements and the bandits and beasts haunting the forest. In this England there are battle monks who can – and will – beat intruders into bloody pulp, and who have created an ingeniously walled refuge; there are kindly nobles who keep packs of dogs that are almost as scary as anything in the woods; there are Templars and pilgrims and Lithuanian travelers. Molly is a heroine to make all others look insipid. And I am including the horde of vampire-fighting/loving girls in recent fantasy in that sweeping statement. Molly is a battle queen, and the fact that she is middle-aged (or as I prefer to say, in her prime) has only made her tougher. One minute she will be healing with the gentlest of touches; the next she will be unerringly picking off bandits with a powerful bow. She is desirable: more than one man encountered in their travels makes it clear he would be happy to have her stay with him, but she already has a man in her bed when she chooses. And she has plans to end her exile from Ireland. Her enemies will need to start gathering an army now. That man is Jack, a big, inscrutable, terribly scarred man who trails a history behind him that he would choose not to discuss even if those scars did not make speech difficult for him. He is far more than the gentle giant a story will sometimes feature; there is always the sense that there is a great deal going on in his heart and his head. He is Molly's man, in every way, and it is that that helps save him, and all of them in the end. Nemain is Molly's granddaughter and her apprentice, on the edge of becoming a woman and shaping up to be every bit as formidable as Molly. She is, at times, otherworldly, a sprite earthbound; at other times she is a young girl who has been rather like a sister to Hob for the year and a half he's been with the group. At still other times she is like anything but Hob's sister, and baffling to the poor boy. Hob is a lovely, lovely character. He is all boy; whatever the setting, boys always have and always will be unchanging in some regards: he goes where he shouldn't, does what he shouldn't, is always eager for a treat and reluctant for chores – and is just becoming old enough to see the allure of the young women they meet along the way. He develops a sweet infatuation with one girl, all the while growing more and more aware of Nemain. Many times I've found that after the first flush of a read has worn off, a cooler head and heart means that the original rating for a book edges downward. After a while I'll go back and look at the notes I made toward a review, and I'll wonder why on earth I was as generous as I was… With Something Red, though, it went in the opposite direction. I gave it four stars, a "B". But time has passed, and I find that the impact of the book is still with me. The characters are still vivid. Four is not enough.
  • Rating: 1 out of 5 stars
    1/5
    This book just was not for me. I like a book to be descriptive enough that I can picture it in my bed, but I don't need it to be overly descriptive of a bunch of stuff that I don't really need to know anything about. This book was just too overly descriptive for me and I couldn't get into it so I have DNF'd it.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    No real hook or attention-grabbing in the beginning, to me, but a wonderfully rewarding read for fantasy readers who appreciate history, world crafting, and also etymology. Not a cant put it down book, but an addictive author.

    Equivalents? Adele:Mariah Carey :: Something Red:DaVinci Code.

    Highly recommended!

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Douglas, long may you live and write. What a marvellous story full of everything you could think of in a historical novel and more. As an anthropologist this story has so many thinks that interest me personally, I can hardly start ...... Magic, sorcery, ethnobotanist, material culture and food. What a mix. Just loved it to death. Simply must read for any adventure reader with a thinking brain. Ten stars, no make it twenty stars. Long may you write, Peter van Fleet.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    I stayed up until after five reading this; something I haven't done in years. Beautifully atmospheric and chilling (literally--there's a lot of snow).

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Slow to start, but rising up towards it's climax in such a way as to prove the slow start warranted. A historical Fantasy I'd now like to own in hard copy. Definitely a fan.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    What a wonderful tale, told by a master storyteller! I was drawn into that world and into that small troupe and felt like I was there with them in this adventure! All Hail Queen Maeve!

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    Review hardcover3.5 ★13th century...NW England..."horror-fantasy""An intoxicating blend of fantasy and mythology, Something Red presents an enchanting world full of mysterious and fascinating characters—shapeshifters, sorceresses, warrior monks, and knights—where no one is safe from the terrible being that lurks in the darkness.In this extraordinary, fantastical world, nothing is as it seems, and the journey for survival is as magical as it is perilous." (from publisher's note)2012 debut novel.
  • Rating: 2 out of 5 stars
    2/5
    At the time when I read this one I thought - blah its going so slow and what is really going on. It was just plodding. But the more I think about it - because it sometimes peaks at me from my "giveaway or donate" book shelf - that it was well written but just needed more OOMPH in a lot of areas. I think it could have been GREAT if there was more action and less of an attempt at suspense because the suspense just didn't quite hit the mark.

    I'd say this was about a 2.5 for me. Between a meh and a eh sort of feeling. I liked the characters and really loved the twist at the end - I just wish there were more going on throughout the whole novel instead of everything just happening in a big rush at the end.

    *A review copy of this book was provided by the publisher. All opinions are my own.
  • Rating: 4 out of 5 stars
    4/5
    Something Red is not what I would consider a typical fantasy novel, but that is not a criticism. It is set in 13th century England and is both a coming of age tale and a haunting mystery. There are definitely fantasy elements and magic in it, but they are not revealed or understood initially. Part of what sets it apart is that it is told from the perspective of young Hob, a 13 year old orphan (see... it is a fantasy book, it has an orphan boy as the protagonist ;) ), who is traveling with Molly, a stoic, strong female who is leading the group, her lover Jack and her granddaughter Neiman. The difference, to me, what set it apart, was that Hob has no knowledge of magic, or strange fantastical creatures. The story centers on Hob's journey with Molly and the others and the fear of the unknown that was wreaking havoc around them. What is going on is left for the reader to discover as the story progresses and Hob himself discovers and understands it.

    This is not a fast paced book, even during the parts that contain "action". But it is a wonderfully vivid book. I found the authors descriptive prose to be beautifully written. It was lyrical and the imagery and sounds surrounding the settings were so masterfully created. I honestly can not think of another novel I have read that has accomplished this to the level that Nicholas has in this book. Others may disagree, but what he did, worked really well for me. I will also mention that perhaps the vividness, and flow of the prose should not be surprising since Nicholas is a poet (and an award winning one at that).

    The book is not perfect, I could make some criticisms for parts that I would like to see done differently (or not at all), but those are minor and overall, this was a very enjoyable read, and something different.
  • Rating: 5 out of 5 stars
    5/5
    This was a terrific book that I would be happy to recommend to anyone who likes an old-fashioned monster story. It's set in the medieval period with a cast of winning characters: Molly, an exiled queen of Erin and her granddaughter, also a queen, Hob (Rob), the boy Molly adopts, who becomes a man in mind and body during the course of the book, and Jack Brown, the gentle giant whose own secret is the key to the clan's survival. I could see the touch of the poet in all aspects of the book: it's language is beautiful and precise in terms of its descriptions of the world that the characters live in as well as in the way that it gives us insight into the characters and backgrounds. The author builds suspense slowly throughout the book, and he has a very good understanding of how to create a satisfying conclusion. He doesn't just release us after the climax; he connects the events of the book to the future for these four people. I really can't recommend it enough--it surprised me thoroughly, and I've seldom been as touched by a book (which might be a funny thing to say about a novel of horror, but it's nonetheless true). I can see it is a book that will be with me for a while. Even now, I want to go back and read the last quarter of the book again--and I've read the last few pages at least three times already for the sheer pleasure of their release.
  • Rating: 4 out of 5 stars
    4/5
    Sometimes a book tells you things about the author. Douglas Nicholas is an award-winning poet, and some of that poetry seeps into his novel, Something Red. There is a certain lyrical quality to it that I appreciated, and I found that quite interesting, mixed as it was with a tale of murder and mayhem.The story is told through the eyes of Hob (Robert), a 13-year-old orphan apprenticed to Molly (Maeve). a musical troupe crossing the Pennine Mountains of Northern England during a particularly brutal winter. Although the stop at many of their usual haunts, visiting old friends, there is clearly something lethal along the trail. There is an ominous presence in the forest and there are many who will not survive the journey. It may be that only Molly, her granddaughter, Nemain, her lover, Jack, and young Hob will be able to save them all.There is a bit of Irish mysticism in the story, and much about the past and future is told in hints and riddles. I had to work a bit on the language, as many of the words are obscure or regional. (Check out my Wondrous Words post on January 9, January 16 and January 23.) Maeve and Nemain have powers and there is something about Jack, something hinted at in the stories about his time on the Crusades and the horrible wounds he suffered. Hob, an orphan, was plucked from a small village where he had been cared for by the village priest; Maeve clearly saw something in him, and as Hob begins the transition to manhood, he comes into his own in this story.I really enjoyed Something Red. I enjoyed the interactions among the troupe members and the story of life on the road, its hardships and friendships, was very interesting to me. What would it have been like to live on the road, performing for noblemen, trading your healing skills for food shelter? It’s a life modern people cannot imagine. It’s a suspenseful story, as you worry about the creature clearly stalking the travelers. Hob makes an excellent narrator — even though he spends his days walking along the trail, leading their ox, just trying to keep warm, he never seems to feel sorry for himself. Instead, he is filled with the wonder of a boy discovering life on the road, making friends, and seeing strange and glorious sights. He has Molly and Jack — and possibly Nemain — to protect him, but he does his part as well. His story kept me turning pages, racing towards the final confrontation.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    “Something Red” is a beautifully written, patiently drawn, mood-filled literary thriller. It’s not outright scary, but one could classify it as horror. It’s not a straight out mystery, though poet-turned-novelist Douglas Nicholas drafts an expectant, slow-boil whodunit.“Something Red” centers on a small band of travelers winding their way through northern England at the earliest onsets of winter. The story is told through the eyes of Hob, a young orphan in the care of Molly, a world-wise woman who's equally as skilled with a bow, as she is with the medicinal powders and elixirs she keeps in her wagon. Molly’s granddaughter Nemain and the silent, brooding and terrifically strong Jack, flesh out Molly’s troupe.Nicholas uses his remarkable linguistic skill to build his plot and shape his characters, slowly like the earliest bubbles within a pot coming to boil. The story thread develops patiently, always on the verge of exposing an important clue, always promising to unlock a key riddle in a characters’ development. This following quote not only describes a scene midway through the book, but aptly describes the reading experience itself. “Life with Molly’s troupe was a constant procession of revelations…like suddenly stumbling upon an old Roman road in the midst of thick forest. Questions rose to his lips, so many that his thoughts became too tangled to choose one."There’s a supernatural element to the story, but it’s subtle and suggestive, and not fully explored until the final 75 pages or so. The dark and purposefully trudging plot persistently pulls the reader towards an inevitable peak - supernatural, but realistic and very human in its portrayals of emotions and motivations. Nicholas serves the story like a feast of accents. The core narrative is written in a form of middle-age English, but the various characters are written with both soft and hard Irish brogues, peasant medieval English, and a heavily accented Eastern European.So wonderfully epic in his storytelling, Douglas establishes a broad mythology that hints at the possibilities of a sequel. If a monastery, forest inn and castle form the backdrop for the expositional narrative, then the building pressure and promise of snow and its eventual release in an monster blizzard provides its voice. A great autumn or winter read, I wanted to step away from my reading nook and find a snowy forest dell to envelope myself further within this tale. But not too far. As Hob asks from within the confortable and warm confines of an English castle: "What could harm us here? What could reach us here?”Much. And more. 

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    I picked Something Red because of its description:They are creatures of blood and dream." During the thirteenth century, in the northwest of England, in one of the coldest winters in living memory, a formidable middle-aged Irishwoman and her little troupe are trying to drive their three wagons across the Pennines before the heavy snows set in. Molly, her powerful and enigmatic lover Jack, her fey granddaughter Nemain, and the young apprentice Hob soon find that something terrible prowls the woods through which they must make their way. As they travel from refuge to refuge, it becomes apparent that the evil must be faced, and it is then that Hob learns how much more there is to his adopted family than he had ever imagined.I could not resist such a write up, a scary story set during the Middle Ages! The back cover reviews call this a suspenseful coming of age fantasy, a pulse pounding page-turner and a book that will leave you reading late into the night. I could not wait to jump into this, so even though school had started, I eager sat down, fully expecting a very scary fantasy.This is no horror book; no rather it is an adult fairytale. I say adult because there are mentions of sex. Sex between two middle agers. Sex that lasts for hours (see, I told you it was a fairytale).As much as I enjoyed the book, and admire Mr. Nichols’ writing style, there are a lot of things that leave me on the fence. Long time readers of mine know I can be picky, so maybe it’s just me. Yet I feel I need to address what I did not like. A fair review has to include criticism, right?The plot setting: We learn that Molly and her granddaughter Nemain are Irish exiles. We never learn why nor do we learn where they are going. We just know they are traveling with Jack, Molly’s lover, across the Mountains in North West England. At one of their stops they agree to take Hob, the orphan teen that had been living with an older priest. We learn why Molly agreed to take Hob, but not until the end of the book, it would have been nice to get bits and pieces of his story throughout the novel.Tone: the pace is not fast; in fact nothing really happens until chapter 5. You have to read half way through the book before you get to any action.Theme: Lack of clarity. A terrible snowstorm is the backdrop, and Douglas uses it to help cloud Molly’s view of what is really going on and who it is she should be afraid of. The whiteout is external as well as internal. The problem with this theme is that at times we the readers are just as “lost” as Molly is. Because we do not really know who she is, we are not sure what’s ahead or what to expect. We know the conflict is with a shape shifter or werewolf, but because we do not really know the main characters we cannot even trust them. This does add some suspense to the story, but by the time we get to the action or heart of the book, we have figured it all out. I never like spoilers so I will not address this, but I will say those who love fairytales and know the lore of several countries will figure out who it is that is stalking our travelers.If you don’t know much about the Middle Ages, you may have problems with some terms. One reviewer complained that many of the terms were unexplained. I can sympathize. Even though I am a Medieval scholar, some of the terms went right over my head. Douglas writes in such detail that at times the story gets bogged down. When he gets into the story it flows. His gift for words show best when he gets lost in the story. If he “fixes” anything, I hope he tells his next story more, and describes the setting less.Despite all of this, the story works because Douglas knows he is telling us a fairytale. He never waivers in his theme, and as modern fairytales go, this is one of the best. You can almost picture the characters in Snow White living close by. If you are looking for stylish writing and wonder if grownups can still enjoy fairytales, I suggest you pick this up, just be prepared to have unanswered questions.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Book Title: "Something Red”Author: Douglas NicholasPublished By: AtriaAge Recommended: 17+Reviewed By: Kitty BullardRaven Rating: 5Review: Douglas Nicholas has written a fabulous tale that weaves so many profound elements both new and old. Though the book has a great sense of the supernatural of which many of us are familiar, the author has succeeded in bringing the readers a delightful change of pace that will have you guessing the entire way.The characters are ones that leave a lasting impression and the writing conveys the old Irish World perfectly. I recommend reading this book and intend to look for more from this author in the near future. I long to know more about what happens to Nemain and Hobb!

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Book Title: "Something Red”Author: Douglas NicholasPublished By: AtriaAge Recommended: 17+Reviewed By: Kitty BullardRaven Rating: 5Review: Douglas Nicholas has written a fabulous tale that weaves so many profound elements both new and old. Though the book has a great sense of the supernatural of which many of us are familiar, the author has succeeded in bringing the readers a delightful change of pace that will have you guessing the entire way.The characters are ones that leave a lasting impression and the writing conveys the old Irish World perfectly. I recommend reading this book and intend to look for more from this author in the near future. I long to know more about what happens to Nemain and Hobb!

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Something Red absolutely blew me away. This is one of the best debuts I've read in years and the story itself still haunts my dreams. It was all the best elements of Irish folklore, historical fiction, and a very frightening mystery at its cores.Mr. Nicholas' is a very talented writer and storyteller. I love the way he puts words together and describes scenes, events, and people. He also writes great and slightly mysterious characters that I couldn't help, but fall in love with almost immediately.Imaging being a trader in the 13th century - I couldn't before this. There is the community of travelers, pilgrims, traders, and inns that supply the necessaries along the way. There are bandits and things that go bump in the night and weather that can quite literally free to death anyone unfortunate enough to be out in it.It's the things that go bump in the night that are at the core of this book. Wrap these things with exiled Irish queens, Lithuanian travelers, monasteries with mastiffs, inns and pure survival and you get a tale you won't soon forget. Highly recommended.

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Book preview

Something Red - Douglas Nicholas

Part I

THE MONASTERY

CHAPTER 1

THE WHEELS WERE SOLID disks as high as Hob himself, and the wood was warped a little and wet with the snow now coming down hard and clinging in patchy lumps to the rims. The main wagon had the aft right wheel fast in a drift, and as Hob added his slight frame to the stamping, cursing struggle to free it, his foot plunged to the ankle in a depression filled with a freezing gruel of snow and mud.

It felt like stepping into fire. Gasping with the shock, he threw himself against the tailboard. A smell of sweat and woodsmoke and rosemary came to him from his left: Molly, her ample well-turned arms, white as mare’s milk, glimmering at the edge of his sight. Before his face loomed the weathered plank he forced his breast against. Nemain stood behind them and skimmed handfuls of ashes beneath their feet. At his right Jack Brown suddenly found purchase underfoot, his toes in the green leather boots stuffed with straw digging in, scrabbling in ash and ice and pebbles, and Jack’s grunting heave freed the wheel’s lip just enough. The ox trod forward again, steaming like a dragon, and Hob staggered as the wagon sailed away from him.

Hob stumped ahead, limping with the pain in his foot. Molly threw her cloak again around her shoulders, over the léine, that shift-like garment from her native Ireland, that she favored on the road. The cloak, and then a shawl, and she was ready to take the reins again: did she never feel the cold? The half-grown boy went forward by the ox and walked with a hand to the draw bar; the heat coming from the vast body was perceptible. He wished he could ride in the wagon.

The snow diminished, but in its stead came a malicious little wind that drew claws across the back of his neck. It found its way up the sleeves of his woolen shirt and between the flaps of his sheepskin coat.

The road wound through winter woods, upslope and down, the land rumpled and complex, with frequent outcrops of naked rock. The view was open enough near at hand, but within a few yards the overlapping trunks foiled the eye. Yews, pale slim birch, massive oaks formed a close horizon; the wagons moved between wooden walls.

Hob began to feel an unease of spirit, an oppression. The sensation grew swiftly till his bodily woes shrank beside it. He looked left at the slowly passing forest, rightward across the rippling, smoking haunches to the trackside brush and more trees, climbing away to the west. He felt breathless and ill. He felt like a coney in a snare, and he could not tell why.

THE CARAVAN HAD COME from Ireby, away by the river Ellen. There had been little enough for them there, despite the town’s sheep market, and Molly had planned to take them south and east through the mountain passes before the snows clamped down in earnest: this year, and the year before, had seen such cold and storm as not even the eldest village grandmam could remember. She hoped to make St. Germaine’s, the hill monastery, before nightfall. It was where all travelers who used the Thonarberg Pass had to stay: one could not get over in a day, and night amid the eerie gorges and overleaning crags was unthinkable. There were stories of bandits who lived in cave and ravine, savage as stoats; there were stories of trolls who slept amid piles of bones and knew neither fire nor clothing.

Gesu! He made a frantic sideways leap to escape a great cloven hoof: the ox had performed a peculiar sidestep. It gave a flat dismayed bleat and stood trembling in place, rolling its large lovely eye. Behind him a sort of ripple passed down the tiny procession as first the ass and then the mare started and veered toward the trees to the east.

Through the volley of curses and the snap of reins coming from behind, Hob was aware of a thin, sour cry that drifted to him from ahead and to the west. His heart seemed to freeze. He was aware that he had seized the rope of the ox’s bridle and was holding the big head, or perhaps just clinging to it. His eye was locked to the curtain of trees, and now he saw a flicker, a glint, of russet color: red as a fox, but tall, tall, high as a big man perhaps, but hard to judge, hard to tell from here, then gone as though it never was. A faint coughing snarl came down the wind, and the ox shoved hard against his chest, breathing moist heat through the folds of his sheepskin coat, its blunted horns to either side of his body. The huge beast was hiding its face against him.

He looked back along the road. Nemain, bent like a bow, labored to drag the ass back to the trail. Her thin wrists shone white as her grandmother’s where they emerged from the too-big sleeves; her hands, lost in their woolen gloves, hauled desperately at the rope. Farther back he could see Jack Brown holding the mare’s bridle and stroking her neck. But Molly, up on the main wagon’s seat, sat leaning sideways with a taut searching scrutiny, her handsome head flung up, her nostrils flared.

Hob stared at her. He had never seen her so alarmed, not even that terrible night when the false pilgrims had rolled out from their cloaks by the fire, cudgels in their fists, robbery and worse in their hearts. The shawl had slipped back to her shoulders and her heavy mass of hair, water-gray with gleams of ice-silver in it, streamed back from her ruddy face, stiff in the slight breeze as though in the moments before a lightning storm.

The breeze spoke in the creaking trees, but nothing else. The snow was all but stopped. Molly turned forward. Her blue eyes, wide set and a little prominent, skimmed over Hob. She made a brushing motion with a gloved hand to set Hob moving, and turned back in the seat. Away on, away on, she called over her shoulder in a low thrumming voice. It was one of her signals: that tone, and the twice-spoken command, meant everyone was to go quickly but make the least noise. Had she said it three times Hob would have left the ox and pelted off into the woods like a deer, snarl or no. Oh, she had them trained.

The wagons started up, the beasts weaving like drunkards from side to side as they tried to slew off into the woods where they sought concealment and safety, and the drivers pushed and pulled them back onto the middle of the track. There followed a lurching hustle through a gray-white nightmare.

Hob was later unsure of their passage through the forest valley. Blur, was what he thought, Blur, cold, afraid, near to pissed my braies, in after days, when he tried to remember. There was a sense of pressure on them all the time, like mice at the foot of the owl’s tree, as they hurried along the road that sank to the ford, then through the shallow ice-rimmed stream, Hob splashing shin-deep in the bitter current but too frightened to curse, and up the farther slope.

After what seemed a very long time the road gained the low swells of the foothills, and here came one of the few moments Hob could recall clearly afterward. A spur of black basalt ran down to the road and forced it to curve around the base. The rock loomed beside the track, twice as high as the wagons. As the ox came up to the bend, Hob hauled back on the lead rope. The corner he must turn seemed to radiate a silent malevolence.

Molly set the brake, reached back into the wagon, and produced a sturdy hazel staff. She climbed swiftly down. She strode forward past the shivering ox, and Hob took a pace back, expecting to be chastised; but she passed him by and strode up to the very lip of the shadow cast by the outcrop, and now here came Jack Brown, the long hammer used on tent pegs in his knotty fist. He had seized in haste what was nearest the wagon door. The lump of iron at the tip of the three-foot shaft was half the size of Hob’s head, and Jack’s forearm was bunched with the effort. With his ungainly rolling walk, his back broad as a hall door, he seemed a kind of troll himself, but Hob was glad to see him between the wagons and that sinister rock.

Molly’s palm showed pale in the gloom: she had flung her arm out sideways to halt Jack’s approach. She stood as though breathing in the forest mist, her heavy body up on tiptoe, the hazel staff thrust in the ground before her. All at once she rocked back on her heels and shouldered the staff. She motioned Jack forward.

The dark man shambled forward past the rock, making Hob think bear for some reason. Molly called Jack artan sometimes; Nemain had told Hob it meant little bear in the tongue she and her grandmother spoke to each other. The hammer looked hungry or thirsty, weaving from side to side like a snake over a dish of milk. Just past the bend, just within sight, Jack stopped still.

Hob felt the hair on his neck prickling. He held to the bridle rope and stood in the middle of the road, waiting for his life to show him the shape it would take.

But Jack darted forward with the hammer, and came back raising on its tip only a bloody rag, coarse gray cloth torn away at one edge, clotted and caked a reddish black in the center and stained in streaks to the edges. He brought it back to Molly and they stood in the road and considered it like two farmers consulting over a stricken sheep. Molly put a finger to the clabbered mess, raised it to her tongue with a curious delicacy for such an act. Hob turned away and rubbed behind the ox’s ear, a favorite spot with the beast.

FATHER ATHELSTAN had grown old; Father Athelstan could no longer keep a young orphan at the priest house. When Molly’s caravan had come through a year and a half ago, the bent and shuffling priest had seen a chance to clear himself of his last obligation to the world. From Maeve, come traveling out of Ireland across the Irish Sea, Maeve whom everyone but Jack called Molly, from her he had felt, as the young and the old and the unclever often did, the blunt tide of animal goodness that moved along her bones. The wagons left a few days later with Hob looking back past the high wheels at the tiny chapel, the miserable rutted mud street that ran past the handful of cottages, until that day the whole of Hob’s known universe.

Hob, who remembered no parents, who was too old to be mothered and too young for a lover, considered Molly with a confused awe that veered between love and fear. When he fell ill she wrapped him in skins and brought him heated mare’s milk and herbs. When, as on this evening, she grew fey and terrible, he could not bring himself to look on her. He stroked the curve of the ox’s coarse-haired neck and thought hard of warm stalls, clean straw, stout monastery walls, safety.

THE TWO CAME BACK, Molly plainly upset. With Jack it was hard to tell. Hob’s eyes slid to them, then away. He determinedly observed the ox’s wide neck; he kept his mind still and muttered Aves. Behind him passed snow-crunching footsteps, Molly’s bell-deep tones, Jack’s harsh gargle. On the road to Jerusalem, far away in the Holy Land, Jack Brown had taken a terrible wound in the throat and another to his ankle: a confused oval of smooth silver scar at the side of his neck as big as a big man’s palm, a ruined voice, a limp, were all the relics he brought back from that hot and haunted country.

. . . oh there’s craft in it, it’s as bad as I’ve seen, I want us on as quick as quick. Hob heard Molly’s footsteps returning swiftly. He looked up. She stood over him with a curious strained expression. "Stór mo chroí, you must lead on as fast as you may, and mind the road ahead. I’ll watch the forest, nor must you trouble yourself about it." He nodded stiffly, and she turned away quick and crisp and hurried back to her seat, waving to Nemain to mount the second wagon.

She had spoken to him with an elaborate gentleness and kindness, as one spoke to a spooked horse. It was this that frightened him more than anything so far.

He caught the ox’s bridle rope; as soon as Molly was settled he pulled. Insignificant as Hob’s strength was, the giant stepped forward, obedient but with an unconvincingly furtive air, as it skirted the rock and followed Hob down the track. It had a kind of trust of Hob, after a year and a half in which he had mostly been the one to feed and groom it, and it followed him as one might follow a parent, a sight at once comical and piteous.

They hurried on, slipping on the iron-hard ruts and steel-colored patches of ice, the wagons swaying dangerously; in their tearing eyes the chill nasty wind, in their ears the creak and groan of flexing wood, the thud and clop of hooves on the hard ground, the harsh whistle of breath in the bitter air.

Now, adding to their troubles, the road began to rise steeply. The beasts began to labor, the brakes were set and released constantly, and the muscles of Hob’s calves and those along the front of his thighs began to burn and grow numb.

A pressure came to Hob. It rested behind his right shoulder blade. He could feel a hard cruel eye fixed on his thin boy’s body, clear as clear, crisp as the clamping grip the shire-reeve used on poachers, just above the elbow: that old painful grip, all lawmen know it, they probably used it on Jesus at Gethsemane. A gaze like a bailiff’s grasp had hold of Hob’s innards. Nor must you trouble yourself about it. He looked fiercely at the wretched path ahead; he took another step, the tension on the bridle rope increasing and easing as the ox fell behind, caught up.

In forcing himself on, Hob felt the lock on his soul ease a bit, but his thoughts were all awhirl, too scattered even for a coherent Ave. He could manage but a mumbled Holy Mary, Mother of God, in time with his steps. Soon the difficulty of the grade and the lull of the chant snared him enough to let him forget the amber eye behind him. How did he know it was amber? His flesh knew it.

Up and up the road wound: oak and yew gave way to fir and claw-needled pine; long ribs of frost-broken stone stood forth here and there; the grade steepened. The land dropped away on the west. They were climbing the western flank of Monastery Mount, that the peasants still called Thonarberg, and the road was narrowing and hugging the rocky slope.

He walked bent forward against the grade. He walked this way for a long time, his right arm stretched out behind him, pulling on the lead rope. Suddenly he woke to his surroundings, as though he had been pacing in his sleep.

Ahead the road passed between two high outcrops of rock. On the east a spur of naked granite, veined with frost, ran to within a yard of the road. On Hob’s right hand, where the slope plunged down into the rift between Monastery Mount and the broken crags and frozen rivers of Old Catherine to the southwest and the Little Sisters to the northwest, now mostly behind them, a spine of rock climbed out of the gulf and bent toward the road. In the portal framed by these two bourne stones stood a small knot of hooded men.

There were three—no, four—and Hob had a moment when he felt bathed in ice water, before he recognized the rough gray mantles, the closed sandals stuffed with dried mountain grasses, that marked St. Germaine’s Companions, the brothers of the Monastery of St. Germaine de la Roche, with their iron-shod staves, their reddened faces, their bodies hardened from plain fare and the highland winters. Their arms were scarred, their knuckles swollen, badges of their service to their oath: to maintain the safety of the road, from the crude gate the caravan now approached to the Thonarberg Bite, a point just over the crest of the pass that ran, threading through the mountains, along the western shoulder of Monastery Mount.

GERMAINE DE LA ROCHE, a gentle soul, born into wealth, in love with God and His works, had it in his mind to build a refuge high in the mountain passes, to gather some like-minded companions, away from distraction, where he could glorify God by prayer, by meditation, and by studying the precarious but tenacious existence of flower and moss in the desolate uplands. It took six years and a substantial part of his family’s wealth to fashion a strong-walled compound off the Thonarberg Pass road, to establish a Rule and obtain the bishop’s approval, and to gather his first set of comrades.

Wells were dug; a flock of mountain goats furnished milk, meat, cheese, and clothing; forays into the lower forests provided fuel and wood for carpentry. Four months of peace followed.

The monks’ tranquillity was shattered in the dead heart of the night by a handful of pilgrims, bleeding and hysterical, battering at the gates. Close on their heels: banditti from the lower ravines, swinging their weighty saxes, knives that were as long as a tall man’s arm from elbow to fingertip. The monks snatched whatever was to hand, and in the melee that followed, six of the wolf’s-heads were stretched out lifeless in the freezing mud at the gate.

Next morning the pilgrims left generous offerings beneath the icon of St. Luke the Physician, Germaine’s patron, and Germaine gathered his monks. His thin face, beneath the disordered wreath of brown hair tinged with gray, was suffused with a kind of rueful joy. Comrades, God has held up a mirror to my vanities: He has shown me that in seeking retreat from this sorry world, I have been blind; I have scanted my calling. The apostle John said, ‘Who says he loves unseen God, but who loves not his neighbor standing plain before him, is a liar.’ Brethren, I have been indulgent with myself: love of God is not exercised without travail and danger. Some of the faces turned toward him were swathed in linen bandages. He beamed at them. We will forgo our books; we will keep safe the pass.

THAT WAS eighty-five years ago, and the Monastery of St. Luke was now renamed the Monastery of St. Germaine de la Roche, long gone to his rest. Now as then the travelers were met at the double outcrop by a knot of vigorous monks, armed with their iron-tipped staves, many of them retired soldiers. They were, these days, largely illiterate, but skilled men of their hands, said to have developed a high degree of artistry in the use of their simple weapons.

Hob halted about a foot before the portal. The monk in charge came forward, an older man, perhaps forty-five. Below his robe were the knotty calves and thick ankles of a mountaineer who never takes a level step in a day, and clenched on his staff the knobby knuckles of one who has pounded sheaves of reeds to toughen his fists. Beneath the whitening brows, surprisingly mild brown eyes regarded Hob kindly; on the monk’s left cheek was a complicated pattern of scar tissue.

God save all here, said the monk.

Amen, said Hob.

Molly had dismounted; now she came trudging up, the voluminous shawl cast about her shoulders, hooding the heap of silver hair, rendering her modest as a nun.

Jesus and Mary with you, Wulfstan, she said cordially enough, although she wore a dire look.

An expression of genuine pleasure replaced the professional courteous suspicion of the warrior monk. Mistress Molly, he said.

Whenever she stayed at the hostel the monks maintained, the first few days were employed in easing a host of small and great miseries with her herbs, her salves, the cunning grip of her big pale hands. Brother Wulfstan himself remembered lying on his pallet, a pain like Brother Cook’s cleaver through his left eye, sick shivers, the rushlight in his cell assuming such haloes as the angels are said to wear.

Brother Abbot and the ancient Father Thomas, chaplain to the Order, had come in, and remained to guard against impropriety. To Brother Wulfstan they seemed, through his pain, ghosts or shadows. Next he remembered the wooden cup with a broth tasting like charcoal and thyme, with a vile bitter undertinge. Back, back a long way to the husk-filled burlap pillow; a hand, rough-skinned but not hard in the way that Brother Wulfstan’s own hand was hard, was placed firmly on his forehead, preventing, it seemed, his head from bursting.

In ten or fifteen breaths he had sat up again, the tears of respite in his eyes, as the pain ran out from his body like whey through a sieve. He had peered into the lake-blue wide-set eyes, the round ruddy comely face, the queenly mane of steel hair peeping from beneath the shawl, and begun an earnest Ave. After some time old Father Thomas had managed, not without a certain mounting irritation, to convince Brother Wulfstan that the Queen of Heaven had not left her Son’s side merely to heal his dolors.

A word with you, little brother, Molly now said; she herself was perhaps seven or eight years older than Wulfstan.

They paced off the road a bit, leaving Hob facing the little group of monks, their staves grounded in the ice-slick soil, their eyes flat as they studied him. Impossible to stare back at them: for something to do, Hob glanced behind. Jack stood at the side of the road, patient as one of the draft animals. Nemain looked past him at the gate, thin-limbed, her skin blotchy as her blood ignited with her new estate as a woman, her eyes green as spring grass; from beneath her shawl escaped a lock of hair red as apples. His only family, now, in all God’s wide cold world.

Molly was speaking earnestly. Brother Wulfstan looked appalled. Presently they returned to the road. Brother Wulfstan signaled to the trio by the great stones, and each swung up his staff to his shoulder with a smooth practiced motion. They trotted forth from the gateway, spreading to this side and that to encircle the tiny caravan, sheepdogs taking station around a flock.

Molly clambered up to her seat and kicked loose the brake. Brother Wulfstan loped up to the head of the caravan; as he passed Hob, he gave him an encouraging double slap on the shoulder blades, as though to say, Let’s go, let’s go. It was like being struck lightly with a blackthorn root. Hob surged forward, dragging the lead rope. In a moment he had passed between the tall sentinel stones, and they were away on the climbing approach to the monastery.

He looked around as he stumbled upward: the harsh vigilant shapes at avant-garde, flank, and rearguard, Jack Brown’s shambling strength, Molly turning her keen watchful face to either side of the trail, abruptly relieved him of a burden or constriction. His thin chest expanded, he drew a deep sweet breath, and his steps pattered almost blithely on the frost-hardened soil of the upward way.

From this point on, the road was flanked by a parapet of fitted stones, waist-high, on the downslope side. After a short time walking uphill, Hob’s legs beginning to ache again, the caravan was passed by a squad of monks jogging down to the gate, the men leaning back against the decline. Hob realized that they must have these small groups going back and forth constantly, to monitor the roads between, and to relieve those who had left the portals at either end to escort parties of travelers.

At their left hand the flank of the mountain climbed sheer to Heaven. Presently the wall of rock receded somewhat from the trail, and soon afterward, they came to a cleft in the stone. The road ran on past this point, but a spur curved into the notch, and it was here that Brother Wulfstan turned in. They had come to sanctuary, near the end of the day, in the Monastery of St. Germaine de la Roche.

CHAPTER 2

WHAT HE FIRST NOTICED: THE dying off of the caustic wind. Recessed into the mountain, the cleft they had entered provided a natural shelter for the monastery. The mountain’s own meat rose to either hand, while ahead, across the gap, St. Germaine had had only to put a stout wall with a double-leaved iron-studded doorway. When they reached the silent unmoving panels of wood, Hob realized that they were observed from a dozen or so slits, in the wooden doors, in the stone wall.

A sudden rattle made him whirl. Behind the little caravan, across the gap that looked out upon the gulf between Monastery Mount and its nearest neighbor, now moved a light portcullis, drawn from a niche cut in one side of the rock. The monks of St. Germaine were not easily taken at a disadvantage.

The travelers were now isolated between the outer portcullis and the wall of the monastery proper. A postern opened in the main doors and a short but very burly monk stepped forth, in his hand a stubby truncheon of solid iron. In the opening behind him Hob caught dull glints of metal.

The monks’ vows forbade them to shed blood by the sword; this they interpreted as a ban on the use of edged weapons. In consequence, avoiding conflict with the letter of their vows if not the spirit, they had become expert in the use of all manner of staff, mace, and bludgeon.

The stumpy monk faced Brother Wulfstan and held his free left hand before the expanse of his chest; the fingers writhed in a curious manner. Hob, standing by the patient steaming bulk of the ox, wondered at this mute ceremony. But Brother Wulfstan matter-of-factly held his own hand up and made twisting shapes in the freezing air. At once Brother Porter, for it was he, turned and stepped back through the postern and slammed it to. A moment later Hob heard the groaning of bolts, and the two leaves of the great solid gate swung back. Monks boiled out, darting past the wagons to face the portcullis in a roughly dressed line formation.

Brother Wulfstan walked forward, waving Hob to follow him. Hob obeyed, tugging on the bridle rope. There was a moment when he might have been anchored to the earth with a millstone, then the ox came to an understanding of what was required, and began to move. When the last wagon was through the double gates, the line of monks fell back through the opening, the doors were heaved closed, the iron bolts were slid into their brackets. Only then did the monks at the capstan that controlled the outer portcullis throw themselves at the capstan bars, their bodies bowed and their sandals scrabbling on the flinty ground, till the openwork gate had been retracted into the slot that St. Germaine’s first monks had carved in the living stone.

In eighty-five years, the monastery had never exposed a clear opening between the walls to the outside world; the double-gate system, thought out by candlelight in the very small still cell that St. Germaine allowed himself, had never failed. Novices chafed at the constant turnout drill when any conveyance must be brought in or out of the compound, but the older hands knew it to be a mighty pillar of their defense.

The wicked are often horridly inventive. Men with knives between their teeth had been known to lash themselves beneath wagons; men with crossbows had been known to secret themselves beneath a bale of hides, a quarrel aimed at Brother Escort’s back: hence the passgate signs, changed constantly and known only to senior monks, that said, No one now threatens me from hiding. Only when Brother Porter had given the sign, Brother Wulfstan the countersign, would those ponderous valves open.

Hob now looked about him. He stood in a kind of bailey, with the outer wall spanning the cleft like a stone curtain, the blocks closely fitted, disdaining mortar. The cleft narrowed toward the back, and there, scorning to build in this natural hold, the monks had tunneled back into the naked rock, so that where a donjon might have been expected, there was a doorway and some windows, not overlarge, and then the faceless brow of the mountain.

The bailey itself was surprisingly extensive, for it ran some distance into the flank of the mountain, and its sides had been hollowed further by the industrious brethren. About the perimeter were stout-beamed wooden outbuildings: stables and byres; a smithy and armory; mews from which emanated harsh raucous cries and a faint jingling of bells; the buttery where ale and wine were stored in butts or casks; the laundry whence clouds of white steam from the tubs, dark gray smoke from the fires, issued forth from vents and from the open double doors; the dairy from which a novice now staggered, oppressed by an ashwood yoke across his slight shoulders: swaying awkwardly from the yoke ends were two tubs of yellow-white cheese.

In the center of the bailey was a wide-mouthed stone well, with an ample roof like the cap on a mushroom, to keep out rain and bird-filth. Hob would later learn that there was another well deep within

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