Please join me today in welcoming author William Peak to Books & Benches!
Praise for The Oblate's Confession
William
Peak's masterful prose--its sentences as skillfully made and enduring
as the abbey at Redestone--is what makes this book so compelling. I read
it twice--once for the intricacies of character and plot, then again
for the pure pleasure of Peak's writing.
- Sue Ellen Thompson, poet, Pulitzer Prize nominee, and winner 2010 Maryland Author Award
- Sue Ellen Thompson, poet, Pulitzer Prize nominee, and winner 2010 Maryland Author Award
A stunning debut...I look forward to more!
-Amy Abrams, author, Schenck in the 21st Century and The Cage and the Key
-Amy Abrams, author, Schenck in the 21st Century and The Cage and the Key
The Book
The Dark Ages, England: a warrior gives his son to a monastery that
rides the border between two rival Anglo-Saxon kingdoms. Growing up in a
land wracked by war and plague, the child learns of the oath that binds
him to the church and forces a cruel choice upon him. To love one
father, he must betray another. The decision he makes shatters his world
and haunts him forever. This quietly exotic novel places us
compellingly in another time, another place, where chieftains fear holy
men, holy men fear the world, and prayer has the primal force of fire.
While entirely a work of fiction, the novel's background is historically
accurate. In the midst of a tale that touches the human in all of us,
readers will find themselves treated to a history of the Dark Ages
unlike anything available today outside of textbooks and original source
material.
Extended Summary
England, the 7th
century. Petty Anglo-Saxon kingdoms make war upon one another and their Celtic
neighbors. Christianity is a new force in the land, one whose hold remains
tenuous at best. Power shifts back and forth uneasily between two forms of the
new faith: a mystical Celtic Catholicism and a newer, more disciplined form of
Catholicism emanating from Rome. Pagan rites as yet survive in the surrounding
hills and mountains. Plague sweeps across the countryside unpredictably, its
path marked by death and destruction.
In keeping with
a practice common at the time, an Anglo-Saxon warrior donates his youngest
child to the monastery of Redestone, in effect sentencing the boy to spend the
rest of his life as a monk. This gift-child, called an oblate, will grow up in
the abbey knowing little of his family or the expectations his natural father
will someday place upon him, his existence haunted by vague memories of a
former life and the questions those memories provoke.
Who is his
father, the distant chieftain who sired him or the bishop he prays for daily?
And to which father, natural or spiritual, will he owe allegiance when, at
length, he is called upon to ally himself with one and destroy the other? These
are the dilemmas the child faces. The answers will emerge from the years he
spends in spiritual apprenticeship to a hermit who lives on the nearby mountain
of Modra nect.
While entirely a
work of fiction, the novel’s background is historically accurate: all the kings
and queens named really lived, all the political divisions and rivalries
described actually existed, and each of the plagues that visit the author’s
imagined monastery did in fact ravage that long-ago world. In the midst of
a tale that touches the human in all of us, readers will find themselves
treated to a history of the “Dark Ages” unlike anything available today outside
of textbooks and original source material.
Publication
date December 1, 2014. Distributed nationally in hardcover by AtlasBooks. Click
here to order from AtlasBooks. Click here to order from Amazon. Available as an
e-book through all major online retailers.
5 Questions for William Peak
What
is your favorite scene in The Oblate’s
Confession?
I would be hard-pressed to pick a favorite, but certainly one of
my favorites would have to be the novel’s opening scene. In it, my first-person narrator relates one
of his earliest memories: he is a child, perhaps four or five, and for reasons
he cannot fathom, he has been abandoned by his father in a place full of dark men
wearing dark clothes (it is, in fact, a monastery, but the child is too young
to understand that). The scene opens
with the little boy so terrified he has hidden himself behind a large door. One of the dark men finds him there and,
taking him by the hand, leads him out onto the cloister garth. It is snowing, and the exchange that then takes
place on the garth between these two characters—a middle-aged monk and the small
child—snow falling all around them, has a sort of enchantment for me. I hope it will for my readers as well.
What
appeals to you most about your chosen genre?
In a way, the writer of literary historical fiction gets to
experience the ultimate adventure.
However vicariously, through the medium of his craft, he is able to travel to and inhabit another time.
And this, of course, if he’s any good, is also the opportunity he affords
his readers.
What
has been your greatest pleasure in writing The
Oblate’s Confession?
I think I would have to say the gift of the story itself. When I set out to write the book, I had a
very different story in mind. But as the
characters developed, I kept finding myself thinking—indeed, they seemed to keep telling me—that they
would behave differently from the way my story-line as originally conceived demanded
they behave. At first, of course, I fought this. But eventually I realized the battle was
hopeless and began to let the story lead me where it would. And what developed, what appeared day after
day on my computer screen, now struck me as right and wonderful and, in a way,
almost miraculous.
I don’t know if there is a God, but I certainly
hope there is. One reason I have such hope
is the story that came to me as I wrote this book, the story that became this
book. I would love to claim I thought it
up, that it was my genius that created this tale, but I can’t say with any
certainty that that is true. At any
rate, the fact that it exists, the fact that this story came to me in the way
that it did, does make me wonder. And, I
must admit, it gives me hope.
How much research
do you do?
Never
enough. That’s what it feels like when
you’re writing a book like this, that you can never do enough research. But before I began to write The Oblate’s Confession, I did read
everything I could get my hands on about monasticism and 7th century
Britain (and the plagues that ravaged 7th century Britain) and
contemplative prayer and early European pagan beliefs and any number of other
things … all in preparation for imagining The
Oblate’s Confession into existence.
Still, as I said, it never felt like enough. And of course, as any professional historian
or archaeologist will tell you, the moment you set pen to paper the history you’re
writing becomes dated. New discoveries
will inevitably cast new light upon your subject matter. My wife is a professional historian, and if
there is anything living with her has taught me it is that the past is a moving
target. No one ever strikes it
dead-on. I only hope and pray ongoing
research into the world of 7th century Britain will justify at least
most of the artistic decisions I had to make if I was ever to quit researching
and actually begin writing my novel.
Do you read much and if so who are your
favorite authors?
There isn’t
enough time in the day to read all that I want to read, so I read whenever I
can, and I always read for at least one hour each morning, and again for
another hour at night before going to sleep.
I can’t imagine any writer who valued his craft answering no to the
question, “Do you read much?” A writer
who didn’t read would be like a pianist or ballerina that didn’t practice. When he wanted to write, he would find there
was no ink in his pen. It is from
reading—massive, unending amounts of reading—that we gain the fluency required
to write.
As for my
favorite authors, if forced to pick among the many I love, for prose I would
choose Virginia Woolf (I think To the
Lighthouse far and away the best novel ever written), Wendell Berry, Graham
Swift, Wallace Stegner, Annie Dillard, and Thomas Merton; for poetry: Philip
Larkin, Jack Gilbert, Sue Ellen Thompson, Jane Kenyon, and Billy Collins. Every Xmas, my wife and I re-read Dylan
Thomas’s A Child’s Christmas in Wales,
and its language and rhythms have long since become my own. But then where to place Shakespeare, where
the multiple authors of the Bible? In
both cases, the influence upon all writers of English has been so extensive as
to be immeasurable and, probably, unknowable.
Finally, I suppose I owe every author I’ve ever read—both the good and
the not-so-good—a great debt. I thank
them all.
_______________________________________________________________
Peak received
his baccalaureate degree from Washington & Lee University and his master’s
from the creative writing program at Hollins University. He works for the
Talbot County Free Library on Maryland’s Eastern Shore. Thanks to the
column he writes for The Star Democrat about life at the library
(archived at http://www.tcfl.org/peak/),
Peak is regularly greeted on the streets of Easton: “Hey, library guy!”
In his free time he likes to fish and bird and write long love letters to his
wife Melissa.
Where can
readers connect and discover more about you and you work?
Website: www.williampeak.com
Blog: http://williampeak.com/blogs/
Facebook: https://www.facebook.com/oblatesconfession
Twitter: https://twitter.com/william_peak
Pinterest: http://www.pinterest.com/williampeak19/
Amazon Author Page: http://www.amazon.com/author/williampeak
Goodreads: https://www.goodreads.com/author/show/7100647.William_Peak
Blog: http://williampeak.com/blogs/
Facebook: https://www.facebook.com/oblatesconfession
Twitter: https://twitter.com/william_peak
Pinterest: http://www.pinterest.com/williampeak19/
Amazon Author Page: http://www.amazon.com/author/williampeak
Goodreads: https://www.goodreads.com/author/show/7100647.William_Peak
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