From the author of Queen’s Gambit, which People magazine called, “A must-read for Philippa Gregory fans,” a gripping historical novel about two sisters who tread as dangerously close to the crown as their tragic sister, Lady Jane Grey, executed after just nine days on the throne.
Early in Mary Tudor’s turbulent reign, Lady Catherine and Lady Mary Grey are reeling after the brutal execution of their elder seventeen-year-old sister, Lady Jane Grey, and the succession is by no means stable. In Sisters of Treason, Elizabeth Freemantle brings these young women to life in a spellbinding Tudor tale of love and politics.
Neither sister is well suited to a dangerous life at court. Flirtatious Lady Catherine, thought to be the true heir, cannot control her compulsion to love and be loved. Her sister, clever Lady Mary, has a crooked spine and a tiny stature in an age when physical perfection equates to goodness—and both girls have inherited the Tudor blood that is more curse than blessing. For either girl to marry without royal permission would be a potentially fatal political act. It is the royal portrait painter, Levina Teerlinc, who helps the girls survive these troubled times. She becomes their mentor and confidante, but when the Queen’s sister, the hot-headed Elizabeth, inherits the crown, life at court becomes increasingly treacherous for the surviving Grey sisters. Ultimately each young woman must decide how far she will go to defy her Queen, risk her life, and find the safety and love she longs for.
From “a brilliant new player in the court of royal fiction,” (People) Sisters of Treason brings to vivid life the perilous and romantic lives of two little known young women who played a major role in the complex politics of their day.
|Publisher:||Simon & Schuster|
|Product dimensions:||6.20(w) x 9.30(h) x 1.30(d)|
About the Author
Elizabeth Fremantle is the author of Sisters of Treason, Queen’s Gambit, and Watch the Lady, and has contributed to Vogue, The Wall Street Journal, Vanity Fair, The Sunday Times (London), and other publications. She has also reviewed fiction for The Sunday Express. She lives in London, England.
Read an Excerpt
Sisters of Treason
The Tower of London
Frances is shaking. Levina takes her arm, tucking it firmly into the crook of her elbow. A bitter wind hisses through the naked branches of the trees and smacks at the women’s clothes, lifting their hoods so the ties cut into their throats. The winter sky is blotched gray, like the inside of an oyster shell, and the White Tower is a dark shape against it. A hushed collection of people shuffles about beside the scaffold, rubbing hands and stamping feet to keep warm. A couple of men trundle past pulling a cart, but Levina does not really see for she is gazing up towards a window in a building across the yard, where she thinks she can see the outline of a figure.
“Oh Lord!” murmurs Frances, slapping a hand over her mouth. “Guildford.”
Levina looks, understanding instantly. In the cart is a bloody bundle; it is the body of Guildford Dudley. Frances’s breath is shallow and fast, her face pallid, not white as one might imagine, but green. Levina takes her by her shoulders, narrow as a girl’s, facing her, holding her eyes with a steady look, saying, “Breathe deeply, Frances, breathe deeply,” doing so herself, in the hope that Frances will mimic her slow inhalations. She cannot imagine what it must be for a mother to watch her seventeen-year-old daughter die and be powerless to stop it.
“I cannot understand why Mary—” She stops to correct herself, “why the Queen would not let us see her . . . Say good-bye.” Her eyes are bloodshot.
“Fear has made her ruthless,” Levina says. “She must fear plots everywhere, even between a mother and her condemned daughter.” She reaches down to her greyhound, Hero, stroking the peaked landscape of his spine, feeling the reassuring press of his muzzle into her skirts.
Levina remembers painting Jane Grey in her queen’s regalia, not even a year ago. She was mesmerized by the intensity of the girl’s gaze, those widely set, dark eyes flecked with chestnut, her long neck and delicate hands, all somehow conspiring to give the impression of both strength and fragility. “Painted” is perhaps not quite the word, for she had barely the chance to prick the cartoon and pounce the charcoal dust through onto the panel before Mary Tudor arrived in London with an army to pull the throne out from under her young cousin, who will meet her death today on this scaffold. It was Frances Grey who helped Levina break up that panel and throw it on the fire, along with the cartoon. The wheel of fortune turns fast in England these days
Over her shoulder Levina notices a gathering of Catholic churchmen arrive; Bonner, the Bishop of London, is among them, fat and smooth, like a grotesque baby. Levina knows him well enough from her own parish; he has a reputation for brutality. There is a supercilious smile pasted on his face; pleased to see a young girl lose her head—sees it as a triumph, does he? Levina would love to slap that smile away; she can imagine the ruddy mark it would leave on his cheek, the satisfying smart on her palm.
“Bonner,” she whispers to Frances. “Don’t turn. If he meets your eye, he may try and greet you.”
She nods and swallows and Levina guides her away, farther from the men so she is less likely to have to confront any of them. Not many have come to see a girl who was queen for a matter of days die; not the hundreds, it is said, that came to jeer at Anne Boleyn—the one whose death started the fashion for decapitating queens. No one will heckle today, everyone is too horrified about this, except Bonner and his lot, and even they are not so crass as to overtly assert their pleasure. She thinks of the Queen at the palace, imagining how she would paint her. She must be with her closest women; they are likely at prayer. But in Levina’s mind the Queen is alone in the empty expanse of her watching chamber, and has just been told that one of her favorite young cousins has been murdered at her bidding. The look on her face is not one of carefully suppressed triumph like Bonner’s, nor is it one of fear, though it should be, for after all it is only days since a rebel army sought, and failed, to depose her and put her sister Elizabeth on the throne—no, her pinched face is blank as a sheet of new vellum, eyes dead, detached, suggesting that the killing has only just begun.
“This is her father’s doing,” Frances mutters. “I cannot help but blame him, Veena . . . His mindless ambition.” She spits the words out as if they taste foul. Levina glances once more towards that tower window, wondering if the figure there, watching, is Frances’s husband, Jane’s father, Henry Grey, who also awaits a traitor’s fate. The cart has come to a halt beside a low building some distance from them. Its driver leans down to chat with a man, seeming just to pass the time of day, as if there were not a butchered boy in the back. “It is a house of cards, Veena, a house of cards.”
“Frances, don’t,” she says, putting an arm round her friend’s shoulder. “You will drive yourself mad.”
“And the Queen, where is her mercy? We are her close kin. Elle est ma première cousine; on était presque élevée ensemble.”
Levina grips her more tightly, without speaking. Frances often forgets that she doesn’t understand much French. Levina has never asked her why, given she is English to the bone, she favors that language in spite of its being quite out of fashion at court. She assumes it has something to do with her Tudor mother, who was a French king’s widow. A man approaches, his cape blowing out in the wind, giving him the look of a bat. He stops before the two women with a polite bow, removing his cap, which he holds crumpled in both hands.
“My lady,” he says, with a click of his heels. “Sir John Brydges, Lieutenant of the Tower.” There is a sternness about him, he is a guardsman Levina supposes; but then his formality drops. “My heart goes to you, my lady. My wife and I . . .” He falters, his voice quivering slightly. “We have become fond of your daughter these last months. She is a remarkable girl.”
Frances looks like a woman drowning and seems unable to form a response, but takes one of his hands and nods slowly.
“She is to be brought down now.” He drops his voice to little more than a whisper. “I can give you a moment with her. She refused to see her husband before he—” He means “before he died,” but has the tact not to say it. “She has asked for you.”
“Take me to her,” Frances manages to mumble.
“The utmost discretion is required. We do not want to attract any attention.” It is clear he refers to Bonner and the pack of Catholic hounds. “I shall leave now. You follow me in a few moments. Take the back entrance of the building yonder.” He waves an arm towards a diminutive house tucked under the Bell Tower. “We shall await you there.”
He turns to leave and the women follow on after a time, giving the impression of seeking shelter from the wind. The door is low and they have to duck under the lintel, closing it behind them, finding themselves in darkness. It takes a moment for their eyes to adjust. There is a further door opposite, and Levina wonders whether they should enter, feeling that she must take the initiative, as Frances seems incapable of anything. As she moves towards it, the door creaks open and Brydges peeps round. Seeing the two women, he opens it further and there is Jane, head to toe in black, holding a pair of books in her tiny white hands. She wears a smile and says, “Maman!” as if it is any ordinary day.
“Chérie!” exclaims Frances, and they fall into one another’s arms, Frances whispering, “Ma petite chérie,” over and over again. The French gives the moment a dramatic quality, as if it were a scene from a pageant. It strikes Levina, too, that Jane seems more the mother than Frances; she is so very poised, so very in control of herself.
Levina steps to one side, half turning away for decency’s sake, not that they seem to even remember she is there.
“I am sorry, chérie . . . so, so very sorry.”
“I know, Maman.” Jane breaks away from the embrace, gathering herself, straightening her dress. “Ne vous inquiétez pas. God has singled me out for this. I go willingly to Him, as an envoy for the new faith.”
The girl Levina remembers drawing just a few months ago is all gone; this is a woman before them, standing straight, polished, calm. It strikes her, with a painful twist of irony, that Jane Grey would have made a far better, wiser queen than Mary Tudor will ever be. If the people had seen her as she is now, they would never have thought to raise an army to depose her and put her Catholic cousin on the throne.
“If I had but a salt-spoon’s measure of your courage,” murmurs Frances.
“It is time, Maman,” Jane says, glancing towards Brydges, who nods solemnly. Then she passes one of her books to Frances, whispering the words, “There is a letter for you within, and one for Katherine; hers is written in the book itself, for she is sure to lose it otherwise—my sister never was one for holding on to things.” She laughs, a tinkling sound that even raises something approximating a smile from Frances, and for an instant they look so like one another that Levina finds herself smiling too. But Jane’s laughter drops away as quickly as it came, and she adds, “Protect Katherine, Maman. I fear she will not stand it so well.”
Levina is struck by the horrible inevitability of Jane’s younger sister becoming the new focus of reformist plots—someone will surely seek to depose Catholic Mary Tudor and put one of their own faith on the throne—like a line of dominoes, set to fall one after the other.
“And Mary? What shall I tell her from you?” Frances refers to the youngest of her three daughters.
“Mary is clever. She has no need of my advice.” Then, with a flutter of her birdlike hand, she is gone and the inner door is closed behind her. Frances, gripping the book, puts out her free hand to the wall to steady herself.
“Come,” Levina says, grasping her upper arm, leading her out, back into the wind and the waiting scaffold where a few more have gathered, though still it could not be called a crowd.
They appear then, Brydges first, ashen-faced, after him the Catholic man who was unable to convert her, both with their eyes cast down. And there she is, bold and straight, her psalter held open before her, lips moving in prayer, flanked by her two women who are barely holding back their tears. The scene engraves itself on Levina’s mind: the jet black of Jane’s dress against the drab stone of the Tower behind; the way the wind lifts the edges of everything, suggesting flight; the almost weeping ladies, their gowns lurid splashes of color; the exact pallor of Brydges’s skin; the look of solemn serenity on Jane’s face. She is compelled to render this in paint. A great gust of wind sends a branch of a nearby tree crashing to the ground, close enough to Bonner and his acolytes to make them jump back and scatter. She wonders how many are wishing, as she is, that it had struck a softer target.
Jane Grey mounts the few steps and stands before the onlookers to speak. She is close enough that were Levina to reach up she could touch the edge of her skirts, but the wind takes the girl’s words and only snippets reach them. “I do wash my hands thereof in innocency . . .” She makes the action, rubbing those small hands together. “I die a true Christian woman and that I do look to be saved by no other mean, but only by the mercy of God.” She is cleaving to the new faith to the last, and Levina wishes that she had a pinch of this girl’s unassailable fortitude.
When Jane is done she shrugs off her gown, handing it to her women, and unties her hood. As she pulls it away from her head her hair looses itself from its ribbons and flies up, beautifully, as if it will lift her to the heavens. She turns to the headsman. Levina supposes he is begging her forgiveness; she cannot hear their exchange. But his face is utterly stricken—even the executioner is horrified by this, then. It is only Jane who seems entirely composed.
Jane then takes the blindfold from one of her ladies and, refusing help with a small shake of her head, wraps it about her eyes, then drops to her knees, pressing her hands together swiftly and mouthing out a prayer. All of a sudden, the prayer finished, her composure seems to fall away as she flounders blindly, reaching for the block, unable to find it in her sightless state. Levina is reminded of a newborn animal, eyes still welded shut, seeking, in desperation, its source of succor.
Everybody watches her but nobody moves to help. All are paralyzed with horror at the sight of this young girl groping for something solid in a dark world. There is barely a sound; even the wind has dropped to a deathly hush, as if Heaven holds its breath. Still Jane seeks for the block, arms flailing now in space. Levina can bear it no longer and scrambles up onto the platform, guiding those cold little hands, a child’s hands really, to the place; tears sting at her eyelids as she clambers back down to Frances, who is blanched with shock.
Then it is done, in a flash of steel and a brilliant crimson spurt. Frances collapses into Levina, who holds her upright and covers her eyes for her as the executioner holds up Jane Grey’s head by the hair, to prove his job is done. Levina doesn’t know why she looks up then, but what she sees when she does is not reality; it is a scene conjured in her imagination: the Queen in the place of that headsman, her fingers twisted through the bloody hair of her young cousin, her face placid, oblivious to the spill of gore over her dress. The gathering is silent, save for the desperate gusting wind, which has started up again as if in protest.
Levina steps to the side and vomits into the gutter.
Reading Group Guide
This reading group guide for Sisters of Treason includes an introduction, discussion questions, ideas for enhancing your book club, and a Q&A with author Elizabeth Fremantle. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.
After mere days on the English throne, sixteen-year-old Lady Jane Grey was overthrown and beheaded for treason. Her sisters, Katherine and Mary, must navigate the treacherous political intrigue first at the court of Queen Mary and then of Queen Elizabeth, guided by their close family friend, court painter Levina Teerlinc. Sisters of Treason is a compelling story of love and friendship, politics and tragedy in a gilded world where peril is ever present.
Topics & Questions for Discussion
1. Sisters of Treason opens with Jane Grey’s execution. What portrait of Jane emerges from her brief appearance in the prologue and from the way other characters remember her? Even after her death, how does Jane continue to influence her sisters, as well as Frances and Levina?
2. “I have tried to understand why there was no letter for me,” thinks Mary Grey. “I am brimming with silent envy of Katherine . . . for being the one Jane chose to write to.” Why does Jane write to Katherine but not to Mary? What does this decision reveal about each of her sisters?
3. Discuss the theme of women’s friendship in the novel, including Katherine’s relationship with Juno and Levina’s bond with Frances. Levina is “a common painter from Bruges and Frances the granddaughter of a king.” What accounts for their deep friendship?
4. Is Levina’s husband, George, correct when he accuses her of prioritizing her friendship with Frances over their marriage? Why does Levina feel such a strong sense of loyalty to Frances and her daughters?
5. Mary longs for the solitude of the country, while Katherine craves the excitement of court. Yet in what ways is Mary more astute than her sister at managing the political minefields of the royal inner circle? Why does Mary become a favorite of both Queen Mary and Queen Elizabeth? Why does she both hate and admire Elizabeth?
6. Marrying without the Queen’s permission is considered treason. Why is Katherine willing to take such a risk? What about Hertford’s motivations? Was Juno right or wrong to advise Katherine to marry first and then ask the Queen’s permission?
7. What is your opinion of the two queens as they’re portrayed in this book? Do you think Queen Mary is right to have Jane executed? Do you think Elizabeth’s imprisoning Katherine is justifiable? Why or why not? Why would Elizabeth see Katherine’s secretly marrying Hertford as a threat to her throne?
8. Why is Levina criticized by some, and regarded with suspicion, for her profession? What compels her to stay at court despite the danger and “permanent sense of dread” she feels? How much of it is due to her promise to Frances and how much is ambition?
9. What do you think of Frances’s marrying Stokes and retiring from court life? Is it fair of Frances to ask Levina to look after her daughters, especially given Katherine’s precarious position as a possible heir to the throne?
10. How is religion a significant political factor during the reigns of Mary and Elizabeth? Compare Mary Grey’s feelings about faith to those of the other characters. How is she especially vulnerable in a society that places such great emphasis on religion?
11. After Katherine is sent to the Tower, Queen Elizabeth tells Mary that she hasn’t been vociferous in her sister’s defense. Meanwhile, Levina laments that she was in Bruges when Katherine was arrested. Is there anything that either woman could have or should have done differently to help Katherine?
12. “‘I sometimes wonder if she isn’t attracted to the danger of it all,’” says Frances about Katherine. Is Katherine a victim of circumstance or the architect of her own fate? Were you surprised at the way she died? Why or why not?
13. Why does Mary marry in secret despite what happened to Katherine? Why doesn’t Mary regret her decision despite the outcome of her actions?
14. “‘We all deceive ourselves sometimes, Mouse. You will learn that with age,’” Frances tells Mary. In what instances does Frances deceive herself? How about Levina, Katherine, and Mary? What are the repercussions?
15. How does Sisters of Treason compare with other historical novels your group has read, particularly ones set during the reigns of Mary Tudor and Elizabeth I?
Enhance Your Book Club
1. Double the Tudor intrigue by reading Queen’s Gambit, which features Katherine Parr, the sixth wife of Henry VIII and Levina Teerlinc’s former patron.
2. Serve English fare at your book club meeting. Use recipes on Epicurious.com (http://www.epicurious.com/recipesmenus/global/englishscottish/recipes) or purchase delicacies from BritishDelights.com or other specialty food websites.
3. A royal palace, fortress, and prison, the Tower of London is a key setting in the novel. See photos and read about its place in royal history at www.hrp.org.uk/TowerOfLondon. Follow a link on this website to see photos of and read about Hampton Court Palace, where Katherine and Mary spent time at court, or go directly to http://www.hrp.org.uk/HamptonCourtPalace/.
4. Visit www.ElizabethFremantle.com to learn more about the author and her books. Go to http://www.elizabethfremantle.com/sisters-of-treason.html to see miniature portraits of the Grey sisters attributed to Levina Teerlinc.
A Conversation with Elizabeth Fremantle
What was your inspiration for writing Sisters of Treason?
The story of the Grey girls was a natural progression from my previous novel, Queen’s Gambit, allowing me to continue exploring the themes of women and power as Mary and then Elizabeth came to the throne. The fate of the Grey sisters was intrinsically bound up in the political power play of the period, so their stories provided the perfect lens for my narrative.
Why did you decide to unfold the story from the viewpoints of Katherine and Mary Grey and Levina Teerlinc? Did you ever consider telling it from a single character’s perspective?
As the Grey sisters were so young (Mary is only nine at the novel’s opening), I felt it was important to have a more mature and knowing perspective on the story. Levina Teerlinc, as a female painter, was a figure of fascination for me; and the fact that she had painted Katherine Grey, possibly also Jane, and was both an insider and outsider at court made her a good observer of the complex politics of the time. I felt strongly too that the two girls should tell their own stories to give a sense of how differently they approached the challenges of their lives.
How much of the book is based on historical record? What research did you do for the novel?
The novel is entirely based on the historical record; it is the interior worlds of the characters that provide the fiction, as their thoughts and fears can only be extrapolated from the decisions we know they made. My research involved a huge amount of reading, not only texts pertaining to the central characters but also minor figures, as well as state papers and letters and the work of social historians. Contemporary buildings, etiquette guides, cookery books, and portraiture also helped me build a convincing world around my characters.
Smart, spirited Mary Grey is an intriguing character. What information was available to draw on in creating her? If she hadn’t been born into an aristocratic family, what would have become of her?
There is not much literature on disability in the sixteenth century, but there are one or two studies that I drew on, as well as exploring the lives of people living with disabilities in other eras, to have a sense of what life might have been like for someone like Mary. Even in an aristocratic family she might have been consigned to a life hidden away, so it is remarkable she was educated with her sisters and participated fully in life at court. Her life would certainly have been different had she not been noble and would always have been challenging, but she might have found greater happiness in a simple life had she not been full of Tudor blood.
How unusual was it for a woman to be a court painter in the Tudor era as well as the family breadwinner?
It was extremely unusual. There were one or two painters on the Continent and there had been a female miniaturist named Susannah Horenbout at court, prior to Levina Teerlinc, though her role had been defined by that of her painter husband. Women were supposed to be confined to the domestic arena; and though many women earned their living through necessity, it was rare for a woman to express herself artistically in such a public way. Women’s primary role was that of childbearing and supporting their husband, so Levina was a woman who bucked convention in a daring and extraordinary way.
Mary Grey longs for a place “where girls are not used as pieces in this game of crowns.” In what ways were women especially vulnerable during the era portrayed in the book?
As there were no boys or men in the royal succession during this period, the focus of power play was on the women, all young girls who were the grandchildren and great-grandchildren of the first Tudor king, Henry VII. Mary, Queen of Scots, was one and the Greys were the others, with Henry VIII’s daughters, Mary and Elizabeth (who many believed to be illegitimate due to her father’s marital complications). These women were regarded as the site of potential power and also as potential mothers to male heirs and so plots built up around them that put them often unwillingly and at times unwittingly in great danger.
In what ways do you think modern women can identify with Frances, Levina, Katherine, and Mary?
I think it is the love relationships—mother and daughter, sister and sister, between two women—where the strongest parallels can be drawn between these women and women today. Their situation and attitudes may differ greatly but the spirit of loyalty and love remains universal.
Frances Grey describes the political situation in England under Queen Mary as “a house of cards.” How dangerous was it to be in a high-born family like the Greys at the time Mary and Elizabeth ruled? Was it unusual for someone to voluntarily retire from court life like Frances did?
The stakes were very high for those with Tudor blood, as the dynasty had no established plan of succession; this was borne out by the tragic end of Lady Jane Grey. I deliberately have her haunt the novel as a means to remind the reader of the permanent danger facing those close to the throne. History is littered with Icarus stories of those who flew too high and ended up on the block. It required permission to retire permanently from court if you were born into royalty, as even those who lived primarily on their estates were required to participate in state occasions and were at the Queen’s beck and call.
At one point in the story, Queen Elizabeth’s life hangs by a thread when she is stricken with smallpox. How might history have unfolded differently for Katherine if Elizabeth hadn’t survived the illness?
It is impossible to know, but one can speculate. Elizabeth, believing she was dying, requested that Robert Dudley be made Protector until the succession was settled. Whether this would have come to pass is debatable, as he was incredibly unpopular and it was Cecil who really held the political reins of England. Who knows, Katherine Grey, or her son, might have been put on the throne only to be overthrown by a Continental Catholic faction with Mary, Queen of Scots, at its head. It is likely there would have been a bloodbath in any circumstance. That is why there was so much general anxiety about the Queen refusing to name a successor.
What drew you to writing historical fiction? To whom will you be introducing readers in the final book in your Tudor trilogy, which follows Queen’s Gambit and Sisters of Treason?
I had studied the writings of early modern women for my English degree, which led to a fascination for the period and particularly for the lives of women. I wanted to explore this time of unprecedented female power through the medium of fiction. The protagonist of my final (for now) Tudor novel is Penelope Devereux, sister of the Earl of Essex. Penelope was remarkable not only for being the muse for Philip Sidney’s poetry and a royal favorite but also as a woman who flew in the face of convention by publicly taking a lover, and was also deeply involved in her brother’s coup against the aging Elizabeth, which ended with Essex on the block.
Most Helpful Customer Reviews
Given To Me For An Honest Review This book is set during the time of the Tudors. It is right after the beheading of Lady Jane. It is about her two sisters. Quite a read and if you love history and the Tudors you will like it. I highly recommend this book and only wish I could give it more stars. Once I started it I could not put it down until I was finished.
In this story, we get a glimpse into life at the English royal court as viewed through Mary and Katherine Grey, the younger sisters of Jane Grey. Instead of merely focusing on the kings and queens, we get to see the lives of two sisters and the way they may have felt as they attempted to survive, both threats to the throne in their own rights. Katherine through her beauty and potential to produce heirs. Mary through her blood, although not considered by those around her. As the story opens Frances and Levina are going to attend Janes' execution and by chance get a few moments alone with her. Jane Grey is calm, ready for her execution. She has a faith in the face of death those around her struggle to understand. Jane tells Frances to give her Bible to Katherine. In it she has written the last advice she will give her. For Frances, she has written a letter. The openning draws you into the story and you realise the horror of what is happening as if you are there. All the characters are well written and you can't help but get a glimpse into life at royal court. However, the glimpse for me was that of the fear and pain involved for everyone. How you give up your privacy with only your thoughts to be your own. It shows the daily betrayal by those closest to you. How the life you live not always belongs to you, but those around you. How even your parents will use and betray you. How everyone sees almost everything and then attempts to figure out how their knowledge can benefit them most. The story tells us of two sisters and how life was lived in a way history does not with it's monotonous recitation of dates, times, places and events. We can see Katherine as the real threat to the throne, though perhaps not the brightest person. She is beautiful and tends to have fun, causing problems at times. Both queens view her as a threat to the throne, while Mary on the other hand is smart. She has the bloodlines, but because of the hunched back, she is swept aside as a threat in that era. For one queen she is treated as a kind of pet, while the other treats her as a kind of confidant and sees her for who she is. Her deformed equal. If you enjoy historical fiction, you should definitely give this story a try.
Nothing much happens in this book, but I appreciated it nonetheless. I have read much of the Tudors and English royalty my entire life before my interest waned. I'll give this book 3 stars because the end of the book explains the cast of characters and the Tudor succession, which I plan on referring to as I just began The Tudors on Netflix. Great writer and may try her other books later on.
I love reading about the Tutor era and this book did not disappoint!
An interesting look at life at court and away from it.
I loved it and recommend it! Great story that shifts between 3 main characters. Gives a new view to life at court with Mary and Elizabeth.
It was interesting to read about other Tudor ties to the crown of England. I always did wonder about the the execution of Lady Jane Grey and as to her blood connection that threatened her claim to the throne.
This Book was a page turner and I really enjoyed it. Will continue to read all of Elizabeth Fremantle Books.
Sisters of Treason by Elizabeth Freemantle is set in 16th century England during a time of political upheaval. At the heart of the story are three women, the sisters Mary and Catherine Grey, and painter Levina Teerlinc. Through their collective points of view, the story unfolds. The main story plot are the struggles of the two sisters to avoid court intrigue and politics. Still reeling after the beheading of their Sister, Lady Jane Grey, Catherine and Mary find themselves pulled into court intrigue despite their attempts to keep their distance, where a single swipe of the quill or a few angry words, or even worse, the truth, will spill out and see them imprisoned in the Tower or executed. Although I had not read the previous book, The Queen's Gambit, it made no difference – this story definitely stands alone. At first I was a little apprehensive because of the over-abundance of Tudor novels on the market currently, and I am getting a little weary of them, but I have to admit I was pleasantly surprised. The author has taken us deep into the viewpoint of two lesser known women in England’s history. So for that aspect alone, I found this book unique and refreshing. Brava Elizabeth Freemantle for bringing to life women other than those married to Henry VIII! I did not expect to become so involved in this story, but I did. Lots of detail, spectacular writing, and an engaging plot kept me involved right to the very last page. Definitely a book not to overlook, especially if you are a fan of English history! I'm definitely looking forward to reading The Queen's Gambit!