That is not to say their lives were ideal. As with sex workers today, some were forced into the trade while others chose it, and still others drifted in and out of it as financial needs dictated. Medieval prostitutes had no legal standing, so they could not act as witness in their own defense in a court of law and had few legal protections. However, they were widely accepted as a part of society and often participated in city processions and festivals.
I have probably taken the most grievous liberties with the d’Albret family. Count d’Albret was one of Anne’s most ardent suitors. Except for the recording of his death, which transpired in 1522, Count d’Albret disappears from the annals of history after 1491, and I have taken great license with this disappearance. He left behind seven children, including Pierre, Louise, and Charlotte. Sybella was not one of his historical daughters; she is my own invention. By all accounts they were a brash, abrasive, politically ambitious family who betrayed the duchess multiple times, including handing over the capital of Brittany to France.
While the nine old gods in Courting Darkness did not exist in the exact form they are portrayed in the book, they were constructed from earlier Celtic gods and goddesses worshiped by the Gauls, about whom we know very little. As the Church struggled to convert an entire population over the centuries, as a matter of policy they adopted pagan deities as saints, painting over the original myths with their own Christianized narrative. They also built churches on pagan holy sites and organized their own festivals and celebrations to coincide with earlier pagan celebrations to make them more palatable for the local populace. In later years, the Church became much less accepting of such divergences in religious practices and became more watchful and far less tolerant of irregular worship and heresies.
Acknowledgments
This book was lucky enough to have two amazing teams help bring it into the world. I am forever grateful to Betsy Groban, Mary Wilcox, Linda Magram, and Karen Walsh for believing in and supporting this book when it was naught but a hopeful gleam in my eye. That support came at a critical time and meant the world to me. This book would not exist if not for them.
Nor would it exist without the continued support and enthusiasm of Lisa DiSarro, Maire Gorman, Catherine Onder, and Veronica Wasserman.
I am truly among the most fortunate of writers for having the opportunity to work with so many incredibly talented people. I wish to thank Billelis for his amazing cover art, which captured the mood and feel of the book in such an extraordinary fashion. Thank you also to Whitney Leader-Picone and Cara Llewellyn for their spectacular design skills and vision.
A most appreciative round of thank-yous are due to Diane Varone, Emily Snyder, Chloe Foster, Lily Kessinger, and Kristin Brodeur for their unflagging patience in keeping the mysterious wheels of the Publishing and Production Process turning smoothly in spite of delays caused by wildfires, floods, and mudslides. And to Mary Magrisso, Ann-Marie Pucillo, Erika West, Emily Andrukaitis, Alison Miller, and Ana Deboo for their expert eyes and attention to the intricacies of punctuation and grammar that often escape me (and who will, no doubt, have to copyedit even my thank-you!). They have the patience of saints.
Thank you also to the incredible marketing and publicity team at Houghton Mifflin Harcourt, specifically John Sellers, Tara Shanahan, Tara Sonin, Amanda Acevedo, and Catherine Albanese.
Fellow writers Leigh Bardugo and Holly Black were kind enough to listen to me babble about my plotting conundrums, and then, being brilliant, made extraordinarily helpful suggestions. Deva Fagan, Tessa Gratton, and Shae McDaniel gave me equally brilliant, essential feedback on the manuscript, making it stronger in the process.
And last, but perhaps most important, the deepest, heartfelt gratitude to Erin Murphy and Kate O’Sullivan, who never wavered, never doubted, and never ceased to believe.
Chapter One
Brittany 1485
I bear a deep red stain that runs from my left shoulder down to my right hip, a trail left by the herbwitch’s poison that my mother used to try to expel me from her womb. That I survived, according to the herbwitch, is no miracle but a sign I have been sired by the god of death himself.
I am told my father flew into a rage and raised his hand to my mother even as she lay weak and bleeding on the birthing bed. Until the herbwitch pointed out to him that if my mother had lain with the god of death, surely He would not stand idly by while my father beat her.
I risk a glance up at my husband-to-be, Guillo, and wonder if my father has told him of my lineage. I am guessing not, for who would pay three silver coins for what I am? Besides, Guillo looks far too placid to know of my true nature. If my father has tricked him, it will not bode well for our union. That we are being married in Guillo’s cottage rather than a church further adds to my unease.
I feel my father’s heavy gaze upon me and look up. The triumph in his eyes frightens me, for if he has triumphed, then I have surely lost in some way I do not yet understand. Even so, I smile, wanting to convince him I am happy—for there is nothing that upsets him more than my happiness.
But while I can easily lie to my father, it is harder to lie to myself. I am afraid, sorely afraid of this man to whom I will now belong. I look down at his big, wide hands. Just like my father, he has dirt caked under his fingernails and stains in the creases of his skin. Will the semblance end there? Or will he, too, wield those hands like a cudgel?
It is a new beginning, I remind myself, and in spite of all my trepidations, I cannot extinguish a tiny spark of hope. Guillo wants me enough to pay three silver coins. Surely where there is want, there is room for kindness? It is the one thing that keeps my knees from knocking and my hands from trembling. That and the priest who has come to officiate, for while he is naught but a hedge priest, the furtive glance he sends me over his prayer book causes me to believe he knows who and what I am.
As he mutters the ceremony’s final words, I stare at the rough hempen prayer cord with the nine wooden beads that proclaim him a follower of the old ways. Even when he ties the cord around our hands and lays the blessings of God and the nine old saints upon our union, I keep my gaze downcast, afraid to see the smugness in my father’s eyes or what my husband’s face might reveal.
When the priest is done, he pads away on dirty feet, his rough leather sandals flapping noisily. He does not even pause long enough to raise a tankard to our union. Nor does my father. Before the dust from my father’s departing cart has settled, my new husband swats my rump and grunts toward the upstairs loft.