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It is filled with many interesting stories from ancient times to Christine's own time, which also makes the book a pretty entertaining (and sometimes even humorous) account of the historic figures it discusses. Christine herself was an amazing person, so if you buy it, be sure not to skip the introduction - especially if you are unfamiliar with medieval writings: Some of the ideas presented (and how they are presented) are much different than how we would think in modern times, so it is important to familiarize yourself with things like massive over-proving (which may end up being tedious to the unsuspecting reader), Christine's view on marriage, and literary conventions that would perhaps seem very silly to us now, but worked well 600 years ago. Basically, when reading this book, if you keep in mind the context in which it was written, you should be able to appreciate it and like it just as I have.
(by the way -- the book I read was not the Penguin edition, but rather the 1998 English translation by Earl Richards, ISBN 0892552301, so unless you're planning on extensive criticism, you should be okay with this version).
Did you ever wonder why we just accept that women in the Middle Ages were considered demons in disguise? Christine tells us all about what she thinks of that concept and of those who insist on spreading such maliciousness, all in an engaging story full of examples of brave, courageous, intelligent, pious, beautiful, generous women. The book was written to dispel some of the nastier slanders then current about women, but it's still good reading today.
I confess that during the part about martyrs I wandered off a bit (it is some gruesome stuff in places), but as a period source, it's definitely one every history maven ought to have. Christine is intelligent, observant, and witty; her writing fairly sparkles with indignation over the treatment of women and her sardonic amusement at those men spreading those lies. While hyper-Catholic and in places highly allegorical (and in many places its version of "history" is highly questionable, of course), it is an essential look at a time period where women didn't often make their views known in written form.
This book is distinct from "The Book of the Treasure of the City of Ladies".
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Rumours of Lord Lucan's whereabouts continue to pop up: noone knows if he is still alive or not. In this book, Spark has two separate "Lord Lucan"'s visit Dr. Wolf for treatment. Before long Wolf is wondering how much they know about her, how much they know about each other, and which if either of them is the real Lord Lucan. Several other people are drawn into the search for Lord Lucan, including an old friend of his, and the daughter of another old friend of his, and Hildegard's long-time lover. The resolution is amusing and unexpected.
Spark considers the complicity of accomplices in crime, and the morality of the "upper classes", and the persistence of guilt. Her writing is as always extremely clever -- dare I say it sparkles? -- and the book is slantingly funny and morally insistent and a thoroughgoing joy to read. At 82, Muriel Spark remains a truly brilliant writer. (Like another reviewer, I can't quite bring myself to rate this 5 stars -- but only because the book is so short. It's better than the average 4 star book, at any rate.)
As one reviewer below notes, a curious doubling is one of the tropes of this book--mistaken and overlapping identities mask, I suspect, a concern with lack of identity. Spark handles her various themes with her usual grace, wit, and, most importantly, economy. This book is 166 pages, and Spark uses every one of them well (even when she tells us something twice, we can be sure it is for a good reason).
One final note: AIDING AND ABETTING and DECLARE make for interesting comparison. I have no idea whether Muriel Spark and Tim Powers have much overlap in audience, but perhaps they should. They write very different books, but these two show an interesting coincidence of subject matter. Powers and Spark investigate the possibilities of infamous British aristocrats, in Powers' case Kim Philby, and in Spark's Lord Lucan. The Burgess and Maclean case comes up in both books, and the idea of the decaying English aristocracy as letting them and Lucan escape in a fit of apathy, disbelief, class loyalty, and moral paralysis is important to both writers' aims. Spark conjures up a future for Lucan while Powers' fantasy of history "explains" Philby and indeed the entire Cold War. Doubling, noted above as key to Spark's book, is equally important to Powers, on a more fantastic level. In the end, they take different approaches: Powers' Philby is fascinating, complex, sad and deservedly damned; Spark's Lucan is a study in the banality and triviality of evil. There is mystery, but Lucan is too small to be of great interest to his own story.