Book Review: Cometh the Hour

Cometh the Hour (Tales of the Iclingas, Book I)
by Annie Whitehead

Cometh the Hour is the proud recipient of an indieBRAG Medallion, Chill with a Book Readers’ Award, Discovering Diamonds Award and was selected as a Discovering Diamonds Book of the Month 

As is the case with many others, it has arisen in my reading universe that certain writers command my attention, and their names on any book guarantee I will read it. This is the case with multiple award-winning author Annie Whitehead who, with her previous work including novels To Be a Queen and Alvar the Kingmaker, has established herself as a solid voice for Anglo-Saxon England.

As the first entry in a new series, Tales of the Iclingas, this third novel by necessity includes a somewhat extensive cast of characters with wide array of perspectives and motives. The author includes a dramatic personae and does an amazing job describing who from which of four kingdoms battles whom and for what, opening with a brutal attack and abduction that spreads the sway of tribal loyalties, setting off generations of internecine warfare and quest for freedom as defined by their respective leaders.

Having twice now read Cometh the Hour, it is next to impossible not to put to writing some musings on the historical and fictional characters Whitehead brings to life while transporting us to seventh-century Mercia and surrounding lands. Here we bear witness to the tangled lives and loyalties of the four kingdoms—Bernicia, Deira, Mercia and East Anglia—its rulers related in blood and marriage, as we follow them through the years of history leading to links within our own time, one in particular a very tangible tie creating sheer excitement upon recognition. The author doesn’t only tell us a fantastic tale we want to hear, but also includes us as part of it.

It perhaps would be more accurate to state that the characters describe all this via their own observations, passions positive and negative, and dialogue so masterfully composed one might believe these are historically documented utterances. While the novel is actually written in third person, its omnipotent narrator transcends mere recitation to unite reader and character in such a way that each almost has a stake in how the other fares, which in a sense, really is so, for Whitehead’s prose fully lives up to the standard she has crafted it to be. Poetic, it draws readers in as they witness characters making their own observations; we are with them as events unfold and hearts thunder at the tension that builds, compelling continued reading and signaling the care we have for what happens to the people in this world, in the immediate as well as long-term future.

At various moments we see Carinna take in scenes including Ænna the rejected younger child, assessments of wealth or reactions to perilous change, oftentimes wondering, as we move through this powerfully written account, what else any parts of them may additionally signal.

Following an instance in which young Ænna, attempting to emulate the warriors by striking a blow to Edwin’s leg with his wooden sword –

Edwin was clearly angry and although he stayed his sword, he lifted up his leg and gave Ænna the full force of his boot, felling the child who lay in the dust and snivelled.

 Carinna spoke quietly. “He was only trying to be like you.”

 “No wonder the youngling is so inept. His sot of a father will never teach him anything and I doubt he’ll ever make much of a man with all these strapping kinsmen around him. Best show him how to weave, since he’ll be more use in the sheds with the women.”

 [Carinna decided s]he would broach the matter later when he had calmed down and in the meantime she was sure that Ænna would forget all about it and would be back playing with the others again tomorrow as if it had never happened.”

 Not long after, Carinna witnesses the wrath of Queen Bertana as it develops:

“[Her] features had constricted into something more fearsome than an ordinary frown and her expression brought to Carinna’s mind the moment when liquid in a cauldron began to seethe with activity before erupting into a boil.”

 Character verbiage is as complex and intricate as that of any involved with the ins and outs of various factions’ plotting, yet the author’s management skills—as always—are so adept that we follow along easily; Whitehead has no need of dense language for the sake of elevation alone.

Subtly woven within the narrative and dialogue are absolute gems readers often detect that characters don’t, and the spark of recognition is great reward indeed. Whether by physical attribute or behavioral trait, for example, we on occasion are one step ahead of certain figures because we were previously acquainted with someone they just met, observed or heard bits and pieces about. Whitehead knows well how to use this and other techniques to generate tension and the aforementioned reluctance to put a book down as she tenders possibilities and creates the perfect riddle of circumstance. This in turn facilitates an electrifying suspense whereby we have at hand clues that inform as well as tease us, as we re-trace our reading pathways and link together previous knowledge with the question of what the future may or may not bring and events continue to usher in a thrilling sense of anticipation.

Like any others, these people also laugh and wonder and exhibit their own personal habits, and the author weaves this within and without narrated passages and dialogue alike, revealing a self-awareness the extent to which we are not always privy, but which awakens within us an understanding of how we are so like them, and that our habit of utilizing humor to blanket serious subjects is yet one in a long line of collective coping instincts.

While discussing an upcoming marriage with Penda, Derwena’s quip about relations—“I wondered if you and he are now kin? Your sister’s husband’s sister is his wife”—mirrors readers’ perceptions of how the family’s history contributes to their ties to friend and foe alike, from where the pathways begin and to where they lead. Penda later addresses this in part in his acerbic response to Derwena’s wearied statement, “I wonder where it will all end,” a return that has its roots in his family’s knotty relationships.

Cometh the Hour and two other novels by Annie Whitehead – highly recommended all. Click titles earlier in this entry for my review of each. Click image to learn more about the author and her works

In making our way through and to at least some of those answers, Whitehead stays true to her history, creating, for example, strong women without falling into the trap of engaging them in anachronistic behavior, as if they could only be “ahead of their time,” that strength, savvy and great intelligence could only come from later eras, and not their own. While a number of historical blanks have been filled in, the novel’s women characters are woven in as tightly as the men, their roles and actions so perfectly aligned with historical realities and fragmentary evidence that, again, one would be forgiven for initially believing that how the book reads is exactly how these figures’ lives played out—although it should be noted that, as Whitehead states in her notes, “There is documentary evidence for almost everything that happens in Cometh the Hour.”

Another skillful way the author has with words is within her presentation of the characters. As mentioned, there are quite a lot—given events in the series’ first, it seems likely there won’t be quite so many in subsequent installments—and Whitehead manages them so skillfully that from one appearance to the next, any given storyline to another, the transitions are nearly seamless. Part of this results from some characters appearing in multiple strands, which benefits the underlying episodes, lending them continuity rather than overcomplicating it all. Moreover, she maintains Penda’s position as the primary character while moving amongst people and perceptions, giving each a chance, so to speak, to present their case to readers. This method does require a more deft hand, to avoid the risk of an over convoluted tale, and Whitehead possesses this gift in spades. Her absolute brilliance in presentation and form keeps it even and simultaneously stunning: we tend to sympathize with Penda, but the remaining kings are not reduced to otherness, and we see clearly how events inform each other with a mixture of fate and free choice. The author wraps all this within a history we don’t realize we are being given, of the lands and their people and how geography plays a role in decisions and results.

It shouldn’t surprise anyone that Whitehead has released yet another novel of quality, imagination and readability, entwined with a gripping glimpse into our deep past, having patched it together from fragmentary pieces of history. And yet we marvel, perhaps because the events portrayed are so achingly long ago, its players seemingly so lost to us that to be gifted such an extended view to their lives seems as if an impossibility has been achieved. It will then please us to know the author is already hard at work on the sequel.

Cometh the Hour isn’t only for admirers of historical fiction, for within it also is told a tale or two of love—of several different sorts—the fortunes of societies and the motivations of man to demand the rights of work, family and freedom. Thought provoking in its humanity, this is a teller’s tale within which, we can hope, we see ourselves.


A copy of Cometh the Hour was provided to the
blogger in order to facilitate an honest review. 


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