Blog Tour: The Stone Rose by Carol McGrath – An Excerpt That Will Make You Want the Entire Trilogy

The Stone Rose: The sweeping third installment of Carol McGrath’s acclaimed She-Wolves Trilogy, the gripping series exploring the tumultuous lives and loves of three queens of England – and of three women who lived in their shadow, in an era shaped by powerful women.

Based on the extraordinary true story of the female stonemason who carved a queen’s tomb, The Stone Rose traces the life of fierce, self-destructive Isabella of France. Wife to a weak king, Isabella finds herself facing enemies from the wild north, in a war with Scotland, and from within her own family: her uncle Lancaster, whose attempts to rein in royal power cause a rift between them.

But Isabella soon comes to realise that this is a love story. And the threat to the kingdom is a threat to her marriage – and to her own life . . .


Chapter One

Isabella – August 1311

 A fox darted from the woodland verge across the path with a flash of russet. Isabella’s palfrey shied. She tugged hard on her reins. The horse pawed the ground, trying to rise up. It would have thrown her, if her companion had not speedily edged closer to her side and seized the palfrey’s head straps. Her saviour bent his dark head and spoke in a soft tone to the creature, gentling it. Within moments, Juno was calm and stilled. Sitting firm in her saddle, Isabella leaned down to thank him.

The Stone Rose is available for pre-order (click image), and while you await release, you can read the first two Roses in the series. All three books are stand-alone works.

‘If you had not been so quick, Piers, the mare would have thrown me.’

‘Near shave,’ Piers Gaveston gasped, his beautiful dark eyes filled with concern.

King Edward came trotting forward, followed by his pretty green-eyed niece, Margaret de Clare, Piers’ sixteen-year-old wife.

‘Isabella, praise Saint Thomas, you are safe, my sweeting,’ Edward said. He turned to Piers, leaned over and patted his arm. ‘Thank you, my friend. Praise God’s grace, you were right by her side.’

‘Gabriel held fast,’ Piers said, patting his horse’s neck. ‘It was a fox that flashed by in front of the Queen’s horse. I saw its bushy tail.’

Edward began to laugh. ‘You saved my Queen from a nasty fall. You protected her like a devoted knight.’

Piers grinned at Edward, then at Isabella. ‘A pleasure for this knight to protect his Queen.’

Isabella glanced over her shoulder to where the others crowded onto the narrow woodland path; they were led by the extremely well-connected Earl of Warwick, a frowning, dark, sardonic, proud and powerful noble, one of the King’s awkward council, who had been privy to Piers’ previous exile to Ireland. Hunting dogs with their keepers were snapping, barking and straining on leads. Following her nervous glance towards Warwick, Piers muttered, ‘Pity it wasn’t the Black Dog taking a tumble. That fox had unfortunate mistiming.’

Little Meg frowned at her husband, but Isabella’s lips twitched. Piers had amusing names for all the earls he considered enemies. She knew the powerful older men – Warwick and her wealthy uncle Thomas – were both jealous of the young King’s love for Piers, whom Edward called ‘brother’. Her father, King Philip the Fair of France, she mused, would never stand for his barons ordering his friends into exile, as the English barons had poor Piers. Edward had, only a month earlier, called Piers back from exile in Ireland, where, to satisfy the nobles, he had sent Piers as Lord Lieutenant. Now, Warwick, Lancaster and their allies were determined to exile Piers again, just as viciously as they had done a year previously. She liked Piers. He was kind, fun and witty. She had first met him after she arrived in England following her marriage ceremony. Piers had led her to the Privy Council to sit beside her new husband, who blushed and stared straight past her. With a smile, Piers had taken her damp hand and placed it in Edward’s clenched one. ‘I hope we can be friends, my pretty Queen,’ he had whispered in her ear.

The earls had no right to complain that Piers encouraged Edward to be extravagant and inattentive to great matters of state.

Isabella shook her head. These were silly thoughts. The earls had no power to do anything other than what Edward said. Edward was King, she was Queen, and they ruled England by God’s holy grace, not by the permission of people like Warwick, whose role was to help and serve. Warwick and his allies were always complaining about Piers – and now they were threatening another banishment and the withdrawal of Edward’s income. In Parliament, they loudly insisted that Piers was a bad influence and too close to King Edward – far too close. At this thought, Isabella felt her stomach grow so tight, it felt fastened to her ribs. What did they mean by these words, ‘too close’?

‘Your Grace, are you affrighted?’ Meg’s gentle voice broke into her thoughts. She had ridden to Isabella’s side and was offering a vial of infused mint, rosemary and lavender for her to smell. To please Meg, Isabella inhaled and passed it back. She felt better afterwards.

‘Thank you, dear Meg, the Queen seems quite recovered,’ Edward said smoothly, speaking for Isabella, as he liked to do. It had been different, some years earlier, when she was a child bride and unsure. Now, she could speak for herself, so she said, without hesitation, ‘I am well. Do not fuss so, Edward.’

‘Then, my love, it’s time to break our fast. We’ll eat in that meadow.’ Edward waved his jewelled hand towards a sunlit clearing ringed with beeches. He turned and shouted along the path towards the wiry figure of Warwick. ‘Dog—I mean, Warwick! Tell them to set up the pavilion in that glade, over there. We’ll resume the hunt after we break meats.’

Riding up to them, Warwick nodded. ‘Sire, as you wish.’ He threw a malevolent look at Piers, who sat on his horse watching him with an insolent grin on his face.

Piers does invite enmity, Isabella thought. Such impertinence is not doing his cause any favours. It does Edward no favours either.

‘As well you requested a competent organiser today, sire,’ Warwick said, turning his dark expression into a pleasant smile for Edward. ‘Ride on, sire, and it will be done.’ He kicked his heels against his horse’s flanks and the brown hunter trotted back along the track.

Almost at once, their crowd of followers had a silken pavilion erected in the meadow, with a linen-covered low table, cushions and carpets spread out under the shade of a stand of beech trees. Bowing low, servants placed baskets filled with pears and apples on the table and set out dishes of breads, cheeses and meats. Isabella paused and looked about her, feeling how lucky she was. Their court was all young men and women; they loved each other like brothers and sisters. As well as herself and Edward, there was Piers, of course, who was not from a great noble family, but had served Edward since they were two boys learning to be squires in Wales and Gascony. And her dear friend Isa Beaumont, and her French nurse Thea, and Edward’s red-haired niece, Meg, one of the younger daughters of Edward’s most powerful Welsh lord, Gilbert deClare. Meg’s sisters, Eleanor and Elizabeth, were often at court, too, though Isabella was less fond of beautiful, cold Eleanor, and knew fiery little Elizabeth not at all. Delicate Meg, however, was her dearest friend. And Edward had married Meg to his dearest friend, Piers. Isabella smiled to see Meg, at this moment, pulling her skirts around herself to sit down on cushions close to the king.

‘Has this forest a name?’ Meg said, turning to Edward.  ‘Boarstall Wood. Do you like staying here, at the old palace at Brill, Meg? My ancestor, the first King Henry, built the hunting palace. My mother loved it. She made improvements – a bathing room and new tiles on the floors, with lions and crowns.’

‘I do, very much so, Uncle. Much better than London. The views over the fields, the air, the country lanes . . . I can see how Grandmother Eleanor liked it so well.’

‘And lush hedgerows.’ Edward turned to Piers. ‘Do you know, here, they weave young hawthorn and beech together to make a strong barrier that their sheep cannot penetrate?’ He twisted imaginary boughs in his hands. ‘We’ll get the villagers to show us how, Piers. A new skill to learn.’

Isabella felt herself frowning. Edward was always happier away from the castle and his royal duties. Why must he insist on mixing with peasants the very moment he found an opportunity? It was beneath him. Their job was to rule over the poor, not to associate with them. She popped a grape into her mouth. No, she must not criticise. It was not for her to gainsay her husband. Her duty was to provide him with an heir. And that, she smiled to herself, was sure to happen soon. She had just passed her fifteenth birthday. Edward had only this month bedded her for the first time since their wedding, three years earlier, and now this was happening more often.

It had not been the unpleasant experience she had feared. In fact, it had been delightful. She had enjoyed their lovemaking after the first time – though, even then, he had been gentle and considerate, caressing her in places she would never touch herself. She glanced with admiration at his great height, her eyes appreciating his lean figure and strong muscular arms, glinting with blond hairs. As they had lain naked, thigh to naked thigh, he had told her she was one of the loveliest creatures he had ever beheld.

‘Who are the others?’ she’d dared ask. He’d snorted, and not answered.

He clearly admired Piers’ handsome looks. She shivered slightly. And there was, too, the unknown woman whom Edward confessed had given him an illegitimate son named Adam, only two years ago. But that woman was no threat, having died giving birth to Adam. The child was growing up on a manor set deep in the Kent countryside. Edward had won Isabella’s approval when he admitted that he would always care for Adam, since it spoke well of his kindness and reassured her that he would always feel responsibility towards his own. He had looked at her with adoring eyes when he said he hoped she would accept the boy when, one day, he joined their court.

‘Edward,’ she had said dutifully, ‘I shall always be kind to the boy.’ Even so, the sooner she had her own son in her arms, the better.


The Silken RoseThe Damask Rose and The Stone Rose may be ordered from Amazon or Amazon UK. See below for additional dates and blog addresses in Carol McGrath’s fabulous blog tour. Keep up with the author and her other works at her website, where you can sign up for her wonderful newsletter, check out her previous books and more. And don’t miss “The Sexy Weasel in Renaissance Art,” an entry for her Sex and Sexuality in Tudor England blog tour. It’s pretty fantastic!


The Sexy Weasel in Renaissance Art by Carol McGrath

As part of her blog tour for the forthcoming Sex and Sexuality in Tudor England, author Carol McGrath joins us today to write about a sexy little creature whose symbolism remained a secret many of us really didn’t know much about! Read on to be entertained and enlightened. 

Symbolism abounded in sixteenth-century paintings. One amusing and fascinating symbolic feature was that of the weasel. Weasels covered the whole of the mustelid family. They included ermine, sables, martens, ferrets and mink. Of interest specifically to Renaissance art, a widely-held belief was that weasels conceived though their ears and gave birth through their mouths. This gave rise to a language of hidden sexual symbolism in art with weasels symbolising everything from fertility talismans to phallic symbols. A sixteenth-century portrait by Leonardo da Vinci, The Lady and the Ermine, shows a young bride wearing an ermine, which was thought to bring good luck and help her get pregnant.

Dama con l’ermellino – Oil on walnut panel, da Vinci

In the painting the bride’s hand rests over her lower abdomen and she holds the white ermine close to her womb. White weasels were symbols of sexual purity. The story goes that the ermine would rather give themselves up to a hunter than risk soiling their pristine fur in the chase. Da Vinci’s white ermine attests to the purity of his subject, the pregnant sixteen-year-old mistress of the Duke of Milan. The duke belonged to a knighthood called the Order of the Ermine and a muscular weasel would indicate his virility. Since weasels suggested fertility, weasel paintings became an ideal wedding gift. In a marriage painting by Lavinia Fortana, a young Bolognese noble woman wears a red wedding gown. She pats a little dog which is white, the symbol of marital fidelity. Over her right arm she holds a weasel pelt with a jewelled head. This pelt was known as flea fur since it might distract fleas from the wearer’s pristine skin. However, its inclusion importantly represents the possibility and the hope that the bride will be fertile. Brides touching their wombs in paintings hope that God will bless them with a child. The idea connects with Christ’s miraculous conception which happened when God’s angel whispered into the ear of the Virgin. In the two partnered portraits of Pier Maria Rossi di San Secundo and that of his wife, Camilla Conzago, who is with their three sons, Camilla strokes a weasel. Pier has a codpiece that is prominent, just like Henry VIII in Holbein’s portraits.

Portrait of Pier Maria Rossi di San Secondo – Oil on canvas, Parmigianino
Portrait of Camilla Gonzaga and Her Three Sons – Oil on panel, Parmigianino









In the painting of Camilla’s husband, Camilla is gazing at her husband with extreme pride. She is surrounded by their sons and one son is staring at his father’s codpiece. The symbolism only really works if the portraits are hung side by side. The father’s large codpiece attests to the ideals of masculinity which the child aspires towards in adulthood. A white ermine also appears in a portrait of Elizabeth I who was often referred to as the Virgin Queen. In this later painting a white weasel attests to the Queen’s purity and unmarried status. It becomes a political statement suggesting Elizabeth is married only to her kingdom.

Zibellino, from the Italian word for “sable,” also known as a “flea fur.” Associated with childbirth, increase in fertility and protection during pregnancy.

One folk belief was for a woman to wear a weasel’s testicles around her neck or tie them to her thigh. In this way, a weasel as a symbol of sexual rampancy having been emasculated, might provide a potent counterspell. The weasel represented purity in people’s minds. Readers, choose your weasel. Will it be a fertility weasel, phallic weasel, a purity weasel or a success weasel? Whichever, they all made an appearance on wedding gifts and in paintings during the Tudor period. Including a weasel in a painting on tapestry or on an object would also be a way to indicate your high social status, and as a dual purpose the furry creature might just draw fleas away from your skin as well.

About the Author – Carol McGrath 

Following a first degree in English and History, Carol McGrath completed an MA in Creative Writing from The Seamus Heaney Centre, Queens University Belfast, followed by an MPhil in English from University of London. The Handfasted Wife, first in a trilogy about the royal women of 1066 was shortlisted for the RoNAS in 2014. The Swan-Daughter and The Betrothed Sister complete this highly acclaimed trilogy. Mistress Cromwell, a best-selling historical novel about Elizabeth Cromwell, wife of Henry VIII’s statesman, Thomas Cromwell, was republished by Headline in 2020. The Silken Rose, first in a Medieval She-Wolf Queens Trilogy, featuring Ailenor of Provence, saw publication in April 2020. This was followed by The Damask Rose. The Stone Rose will be published April 2022. Carol is writing Historical non-fiction as well as fiction. Sex and Sexuality in Tudor England will be published in February 2022. Carol McGrath lives in Oxfordshire with her husband. Find Carol on her website:

Follow her on amazon @CarolMcGrath

Subscribe to her newsletter via her website (drop down on the Home Page).

Sex and Sexuality in Tudor England may be purchased here.

Paintings and zibellino images courtesy Wikimedia Commons; click individual images for more details. Author image courtesy Carol McGrath.

Guest Post: “Playing God” – Taking Liberties with the Lives and Personalities of Historical Figures


Poster copy



Publication Date: November 1, 2019
Gortcullinane Press
eBook & Paperback

Series: The Derrynane Saga, Book Three
Genre: Historical Fiction


A dramatic decade has passed since sixteen-year-old Eileen O’Connell first departed her family’s sanctuary at remote Derrynane on the Kerry coast to become the wife of one of the wealthiest men in Ireland and the mistress of John O’Connor’s Ballyhar – only to have her elderly husband die within months of the marriage.

Unhappily returned to Derrynane, within a year, under the auspices of their uncle, a general in the armies of Maria Theresa, Eileen and her sister, Abigail, departed for Vienna and a life neither could have ever imagined – one at the dizzying heights of the Hapsburg empire and court, where Abigail ultimately became principal lady-in-waiting to the Empress herself, whilst Eileen, for nine momentous years, served as governess to the Empress’s youngest daughter – during which time Maria Antonia, whom Eileen still calls “my wee little archduchess,” has become Marie Antoinette, dauphine of France, though she continues to refer to her beloved governess as “Mama.”

As Bittersweet Tapestry opens, it is the High Summer of 1770. Having escorted the future Queen of France from Vienna to her new life, Eileen and her husband, Captain Arthur O’Leary of the Hungarian Hussars, along with their little boy and Eileen’s treasured friend (and former servant) Anna Pfeffer are establishing themselves in Ireland.

Their ties to Catholic Europe remain close and strong; in addition to Abigail and her O’Sullivan family and General O’Connell, his wife and young daughter in Vienna, their brother Daniel is an officer in the Irish Brigade of the armies of Louis XV, whilst their youngest brother, Hugh, is studying at École Militaire in Paris, his path to a commission in the Dillons’ Regiment of the Brigade. His gentle Austrian friendship with Maria Antonia having inevitably waned, Hugh’s relationship with the strikingly-beautiful young widowed Princess Marie Thérèse Louise of Savoy is blossoming.

Though happily ensconced at Rathleigh House, the O’Leary family estate in County Cork, being prominent amongst those families which are the remnants of the old Gaelic order in the area, Eileen and Art find that the dark cloud of the Protestant Ascendancy hovers heavily, at times threateningly, over them.

Bittersweet Tapestry is a tale of stark contrasts – between Hugh’s life of increasing prominence amidst the glitter and intrigue of the French court and Art and Eileen’s in English-occupied Ireland – especially as the latter progresses into a dark, violent and bloody tale . . . ultimately involving an epic tragedy, which along with the events leading up to it and those occurring in its dramatic wake, will permanently impact the O’Learys, the O’Connells – and their far-flung circle of family and friends in Ireland and across Europe.

With his uniquely-descriptive prose, Kevin O’Connell again deftly weaves threads of historical fact and fancy to create a colourful fabric affording unique insights into the courts of eighteenth-century Catholic Europe as well as English-ruled Ireland. As the classic story unfolds amongst the O’Learys, the O’Connells, their friends and enemies, the tumultuously-dangerous worlds in which they dwell will continue to gradually – but inexorably – become even more so.

Bittersweet Tapestry joins O’Connell’s well-received Beyond Derrynane and Two Journeys Home as The Derrynane Saga continues – an enthralling epic, presenting a sweeping chronicle, set against the larger drama of Europe in the early stages of significant – and, in the case of France – violent change.

Today here at Before the Second Sleep, author Kevin O’Connell talks about the merging of imagination and history in the historical fiction genre and some of his personal experience – the ups as well as the downs – of doing. See below for more stops on Bittersweet Tapestry‘s blog tour!


“Playing God” – Taking Liberties with the Lives and Personalities of Historical Figures

Few if any other literary genres give an author the latitude that historical fiction does in allowing her or him to stray beyond the boundaries of fact well into the realm of fancy.

What is fascinating – especially in this age of instant information which permits us to seek and obtain “facts” with a few keystrokes – is that it is rather easy to believe that we “know” history: Napoleon was defeated at Waterloo, Washington crossed the Delaware, Joan of Arc heard voices and, at least for a time, led the French armies, the Bastille fell on 14 July.

But what is perhaps equally fascinating is that in many, if not most, instances we actually know very little beyond major events, beyond those happenings that were recorded as they occurred – or at least shortly thereafter. The reality is that so much more happened – or, at least in the mind of the historical fiction writer – may have happened. It is in this mystical sphere, where fact and fiction might be said to somehow intersect, where a good historical fiction author has the freedom to visualise, to roam far afield from recorded history to the locale of “perhaps” or “maybe,” most definitely to the area of “but this certainly could have happened….” Therein lies the magic – and the fun!

The “rules” are few, but rather clear: When “creating history” what one writes of as occurring must be plausible – wholly-believable by even the most knowledgeable reader.

Thus, actual events must stay true to history – unless, of course, one is writing parallel or alternate versions of history.  And even there, one must be careful.  “What if” can be interesting – it can also be wearisome, if not done properly.  Philip K. Dick’s 1962 novel,  Man in the High Castle (currently a television series),  comes to mind as alternate history extraordinarily well done.

Staying “true to history” can be a challenge – especially when one is feeling, shall we say, clever or especially creative. An example from my own work: Those familiar with the earlier books of the Derrynane Saga will know that Eileen O’Connell and her young charge in Vienna had developed a close, virtually maternal, relationship such that the future Marie Antoinette would address her governess as “Mama.”

As the time of preparation for the young archduchess’s departure for Paris approaches, I had Eileen begin to discuss – in  rather significant, even graphic, detail –  the intimate particulars of married life with the barely fourteen-year-old, soon-to-be-wed Antoine, who reacted with wide eyes, much giggling and a not insignificant degree of interest. In my mind I had entitled the episode, “The Birds and the Bees – Done Well!”

Hubris – pure hubris – and awful . . . as I learnt when that part of the manuscript was quickly returned by my awesome editor, who reminded me of things I was well aware, but had dismissed in the name of “being creative”: that Antoinette and Louise Auguste’s marriage would remain unconsummated for some seven years for the very simple reason that both of them were basically ignorant of the mechanics of sex. Indeed, it was not until the young Queen’s older brother, the  Emperor Joseph, actually journeyed from Vienna to see what could possibly be wrong with the marriage that the situation finally began to normalise. Had my imaginative little scene made it into the book it would definitely not have been a positive addition. Thus, one must be very careful and mindful of the “realities” even whilst writing fiction!

Now, in terms of people, in writing of the Imperial Habsburgs thus far in Beyond Derrynane and Two Journeys Home,  I did not stray very far from reality in presenting the Emperor Francis Stephen, Maria Theresa’s beloved albeit charmingly lecherous consort, nor their haughty next-to-youngest daughter, the Archduchess Maria Carolina, who became Queen of Naples and as prodigious a baby-producer as her mother.

I have, however, taken certain freedoms with the Archduchess Maria Antonia – Eileen’s beloved “wee little archduchess,” who was becoming Marie Antoinette, dauphine of France as Two Journeys Home progressed towards its close. In Derrynane, she was the pretty, pliant little girl of the history books. As she grew into late childhood and adolescence, she developed a gentle, at times wispy, personality – with moments of spark, such as when she expressed in no uncertain terms to the Countess von Graffenreit that she was going to France only as a matter of duty.

I have spoken of writing the Empress Maria Theresa as a “kinder, gentler” version of her real self, noting that I believed it was her interaction with my characters which perhaps made her less daunting than history would have us believe she was. These private moments with Eileen – as governess to her youngest daughter, and perhaps even more so with Abigail, who as Beyond Derrynane was ending, had risen to the post of Maria Theresa’s principal lady-in-waiting, the closest servant to the then-most powerful woman in the world – were gentle and laced with humour. Abigail’s gentle humour, her subtle-comedic personality definitely softened her mistress and their interactions almost from Abby’s arrival. In their relationship, there was little evidence of the prudish monarch, who sponsored “morality squads” to ferret out those courtiers she viewed as being sensualists, libertines. And, indeed, as the years passed, Maria Theresa laughed more and judged much less harshly – I believe because of Abby, and, to a lesser extent, of Eileen.

From these experiences, I concluded that the genre of historical fiction  permits its practitioners to depict not only actual historical events in a fictional manner but also events – and people – which could have happened . . . and who could have lived. Taking dramatic advantage of this latitude, I believe and hope that I have stayed within these bounds – and will continue to do so.

It was not, however, until the Princess Marie Thérèse Louise of Savoy was introduced in the closing sections of Two Journeys Home that I took the liberty, for the first time, of straying rather deeply into historical fancy – well far-afield beyond the known or recorded facts.

So it has been in connection with the planned re-appearance and development (in Bittersweet Tapestry) of Hugh O’Connell’s “Louise” that I am experiencing the creation of a significantly different temperament, indeed, personality and, in most ways an entirely dissimilar life for a relatively well-known historical character, and feel that the same can be rather daunting.

I must admit that, as with many of the twists and turns throughout the writing of the Saga to date none of this was at all well-planned, but rather developed as the story progressed and began to take shape or, as has been said of my work, that my “characters have pulled me along”!

As it was since their meeting in the closing pages of Two Journeys Home, Marie Thérèse Louise and Hugh continued – some days rather annoyingly –  coyly circling each other in my imagination, I continued to research the princess, in effect getting to know her better. This was achieved not only by reading, as well as studying literally dozens of portraits of her, but also – as the result of a beautifully-scheduled trip – by visiting her homes in Paris, both the Hôtel de Toulouse (the headquarters of the Bank of France), as well as a “country residence” she acquired in then largely-rural Passy in the mid 1780’s (now the Embassy of Turkey). I developed a sense that she perhaps might have been a more complex, indeed certainly a more interesting person than history has shown her to be.

Several of her portraits depict (at least to me) a very pretty young woman with a gentle, perhaps even playful sense of humour, one who laughs and makes others do so as well. She is, at least at this stage of her life, to a degree both shy and guileless, most likely a result of her sheltered life in Savoy and despite her singular position in the French monarchy. As she appears in Bittersweet Tapestry her life is undergoing rapid, totally-unforeseen changes – it and she are clearly both works in progress.

Lamballe is my greatest challenge to date because – at least to those even casually knowledgeable about the Ancien Regime and the horrors of the French Revolution – she is a familiar character.

At court, history tells us, she had a prudish, pedantic reputation (though it was also rumoured that she was for a time the Duc of Orleans’ lover) – as an aside, Orleans was the regicide who cast his vote in favour of the execution of  his cousin Louis XIV. Later known by his self-bestowed sobriquet Philippe Égalité, neither his name change nor his opportunistic striving proved sufficient to prevent his own execution on the guillotine.

It appears she was viewed by most as – at best – odd, strange . . . perhaps in more modern-day parlance she was a weirdo, most definitely not in the mainstream of the French royal family and aristocracy.

As people most likely sensed from reading  Two Journeys and will definitely experience in Tapestry, Hugh O’Connell’s Louise is quirky – but not in these ways. She is an interesting mix of hauteur and wide-eyed guilelessness – a Princess of the Blood with a sense of wonder, of whimsy.

As she continues to develop, she will – at times – be gently comedic in the way of Abby O’Connell. I believe this is but one of many reasons for Hugh’s attraction to her – she is an obviously bright, perhaps in some ways brilliant, most definitely beautiful young woman who can be funny, sometimes when she doesn’t mean to be. She is loving, she is kind, but she can – as is apparent from several scenes in Tapestry – also be a wee bit of a bitch!

As it has been alluded to, Louise and Hugh O’Connell will play prominent roles in the fourth volume of the Derrynane Saga. I believe that the liberties I have taken thus far – and shall continue to take in the fourth volume – with regard to the personality and life of the Princess de Lamballe, will make for a more compelling story going forward and, as the French Revolution descends into violence and terror, a much more dramatic and significantly more emotional conclusion to the Saga itself.

About the AuthorKevin O'Connell copy

Kevin O’Connell is a native of New York City and a descendant of a young officer of what had—from 1690 to 1792—been the Irish Brigade of the French army, believed to have arrived in French Canada following the execution of Queen Marie Antoinette in October of 1793. At least one grandson subsequently returned to Ireland and Mr. O’Connell’s own grandparents came to New York in the early twentieth century. He holds both Irish and American citizenship.

He is a graduate of Providence College and Georgetown University Law Center.

For much of his four-decades-long legal career, O’Connell has practiced international business transactional law, primarily involving direct-investment matters, throughout Asia (principally China), Europe, and the Middle East.

The father of five children and grandfather of ten, he and his wife, Laurette, live with their golden retriever, Katie, near Annapolis, Maryland.


Blog Tour Schedule

Friday, November 1
Review at Gwendalyn’s Books

Sunday, November 3
Review at Carole’s Ramblings

Monday, November 4
Review at Locks, Hooks and Books

Wednesday, November 6
Interview at The Writing Desk
Feature at Chicks, Rogues, and Scandals

Friday, November 8
Feature at Maiden of the Pages

Monday, November 11
Interview at Passages to the Past

Wednesday, November 13
Review & Guest Post at The Book Junkie Reads

Friday, November 15
Guest Post at Before the Second Sleep

Sunday, November 17
Review at A Darn Good Read

Monday, November 18
Review at Books and Zebras

Tuesday, November 19
Feature at What Is That Book About

Wednesday, November 20
Review at Al-Alhambra Book Reviews

Friday, November 22
Feature at Historical Fiction with Spirit

Monday, November 25
Review at Hooked on Books

Tuesday, November 26
Review at Red Headed Book Lady
Review & Guest Post at Nursebookie

Wednesday, November 27
Review at CelticLady’s Reviews

Friday, November 29
Review at Broken Teepee
Excerpt at Coffee and Ink