Who stole the king's coronation gift? Owen encounters murder, secrets and spies as he attempts to recover a missing gold lion.

'A standout . . . Robb reinforces her place among the top writers of medieval historicals' - Publishers Weekly Starred Review

York, 1377. Owen Archer is called upon when a lion created by the goldsmiths of York as a gift for King Richard’s coronation is stolen.

A CITY’S ROAR.

The missing lion isn’t the only thing causing outrage in the city. Rumours of merchant spies passing on information to the French and Spanish persist. And then a body is spotted floating in the river . . .

TO CATCH A THIEF . . .

Is there a connection between the theft of the lion and the drowned man? The murder of a suspected spy raises further questions. Are the thief and a ferocious killer the same person? Owen’s quest for answers leads him to uncover passion, betrayal, fiercely guarded secrets . . . and to one of the most powerful men in the land.

A page-turning, intricately plotted medieval mystery from a master storyteller, perfect for fans of PAUL DOHERTY, ELLIS PETERS and C.J. SANSOM.

My Review:

Owen Archer, Captain of the Guards for the city of York in 1377, takes his responsibilities seriously. But his duties to his family, his city, AND to be the eyes and ears in the North of Princess Joan, the mother of the new and very young King Richard II, often pull him in multiple, conflicting, directions.

And that’s certainly true in this latest entry in the long-running series, even though Archer’s part of the story takes place entirely in York and the surrounding area. At least he gets to sleep in his own bed at night – when he gets to sleep at all.

This mystery begins not with a dead body, but with a missing one. Not a human body, but the solid gold body of a lion, made by the goldsmiths’ guild of York, intended to be a gift for the newly crowned king.

The golden lion was supposed to be under lock and key. It was supposed to be safe. But the Guildmaster didn’t take nearly as many precautions as he promised Archer that he would, so an enterprising thief managed to steal the lion while the Guildmaster and his apprentices were distracted by a party that should never have been held so close to such an obvious prize.

While it’s all the master goldsmith’s fault, and he’s going to end up paying for that fault in multiple ways, that doesn’t stop pressure from being placed on Archer to find the golden lion before it’s gone – out of reach either by simple geography or smelted down for its valuable metal.

But that theft is not the only case weighing down on Archer. His wife and daughter found a dead body floating in the river, with obvious signs that the victim had been helped to his demise. In the process of tracking down the victim’s identity and the cause of his death, another man is brutally tortured and murdered. The second death might be linked to the first, or to the theft – but one or both might be linked to rising tension among the merchants’ guild as calamity at sea has followed in the wake of the jostling for power at court. The coastline on which England depends for her livelihood isn’t as secure as it was under the old king, and too many enemies are aware of that fact.

Which leads, by multiple routes, to the true source of Archer’s unease. “Woe to the country whose king is a child,” or so goes the proverb. There is chaos at court as the old king’s remaining sons and supporters scrabble for power under a new, young king who is immature and easily influenced. None yet know it, but the infighting between John of Gaunt, the Duke of Lancaster, and Sir John Neville, Baron of Raby, set the first pieces on the board for the family feud that history would refer to as the “Wars of the Roses”.

While that conflict is a century in Archer’s future, in his present he is forced to reckon with Neville’s growing power and influence on the young king, as one of the victims in the mystery that Archer has to solve was a spy, a thief, and Neville’s bastard son. Information that Archer will have to tell the man and pray that his family and his city survive the wrath of a powerful noble with growing influence on the king and the kingdom they both serve.

Escape Rating A: One of the things I love about the Owen Archer series is the place that it is set. York is one of those places where, if you listen carefully, you can hear history walking beside you. While the history that one feels today is the life of Archer’s own time, it’s also true that in the series, Archer and the other characters are very aware of their own histories, as well as the foment and ferment of the time in which they themselves walk.

(I know parts of the above sound a bit fanciful, but it feels right to me all the same. Particularly as I read the first book in this series, The Apothecary Rose, on a trip to York many moons ago.)

Because this story isn’t just about Archer’s present. As has been true in the past couple of books in the series, A Fox in the Fold and A Snake in the Barley, this story manages to solve its mysteries, hint at the future in the growing tensions at court and the (as it turns out correct) fears about the immaturity and outright petulance of the new king, and take a much deeper dive into the personal past of one its long-running characters, Archer’s friend Martin Wirthur. A man who has kept his secrets close to his vest for decades – because those secrets tell a much different – and considerably more villainous – story than the one that Wirthur has presented to his friend.

A Lion’s Ransom is Wirthur’s redemption story, and it works even though the reader never gets the full picture of his sins. We don’t need to and neither does Archer. But Wirthur’s attempt to do as much good as he can in what remains of his life allows the reader to see parts of the city where Archer is not welcome, gives the reader an intimate view of Archer and his wife’s Lucie’s home life with their children, AND provides a surprisingly neat bow for tying off this portion of what likely become Sir John Neville’s growing part of the political story in which this series is set.

Which is also the other thing I love about this series. The way that, while the mysteries may be local, the wider world has a huge influence on the overall story and that the series allows us to see those events from the perspective of the people upon whom the fallout will fall. It’s not about the court, but it clearly shows how chaos and power grabs at court affect the lives of people we can identify with and empathize with.

I always love returning to Archer’s York, and this particular entry in the series had me from the opening. The combination of Archer’s investigation, his running himself ragged to keep all the investigations in motion, AND his fears for his friends and family in the midst of local unrest, along with the missives from court giving him yet more to worry about in the future, made for a very tasty, and absolutely compelling, brew of a story.

I can’t wait to see what trouble comes for Archer in his next investigation – hopefully this time next year.

May, 1375. Owen Archer returns from London to find York in chaos. While the citizens are living in terror of the pestilence which is spreading throughout the land, a new physician has arrived, whipping up fear and suspicion against traditional healers and midwives. With the backing of the new archbishop, he is especially hostile towards Magda Digby, the wise woman who has helped and healed the people of York for many years. At the same time, Magda is uneasy about the arrival of two long-lost kinsfolk. Though they say they are seeking her help, she senses a hidden agenda.
Magda’s troubles deepen when she discovers a body in the river near her home – and finds herself under suspicion of murder. Days later, fire rips through a warehouse in the city. Amongst the charred debris lies the body of a man – not burned, but stabbed in the back. Could there be a connection to the corpse in the river?
Determined to prove Magda’s innocence, Owen sets out to find answers amidst violent outbursts within and without the city walls– but the more he uncovers, the deeper the mystery becomes …

My Review:

The past is another country, they do things differently there. Just because they DO things differently doesn’t mean that they ARE different. Human beings seem to be pretty much the same under the skin, no matter when or where they are born.

Warts and all, as the saying goes about whether an artist is willing to paint the truth instead of a pretty lie.

As this series has continued from its beginning in The Apothecary Rose, the political foment of the time and the mess it’s going to cause in Owen Archer’s very near future – meaning the Wars of the Roses that are just about to kick off. And there is some reference to events that are already in motion as this entry in the series begins.

But the burning heart – very nearly literally – of The Riverwoman’s Dragon is a witch hunt. So for this entry in the series the author has changed the point of view of the action from Owen Archer to the witch herself, the riverwoman Magda Digby.

And what a fascinating story it is!

Magda has been a part of the series from the very beginning. She is an elderly woman who lives on an island in the river Ouse, in a house that is either sheltered under or made up of or perhaps a bit of both, a wrecked boat whose dragon figurehead crowns the structure.

And possibly protects it.

Magda is one of the women who will be targeted by the actual witch hunts of the next few centuries. Not just because she’s old and lives alone, but because she’s a healer who uses herbs and roots and occasionally a few charms to mend her patients. She’s mysterious and a bit otherworldly and she serves the poor. She’s clearly not a member of the church, a church that fears what it does not control or understand, and women’s magic in general and Magda in particular are definitely things that the male-dominated church neither controls nor understands.

And the plague is coming. Again. Magda knows that when people are afraid, they lash out at anyone or anything perceived as “other” – and Magda is both.

So Magda is vulnerable, and someone has come to York to exploit that vulnerability. Not by a direct attack, but rather by spreading fear and uncertainty, through insidious whispers in dark corners, and through sermons preached by frightened and/or misogynistic clergy. Letting the whispers grow into a groundswell of terror and conspiracy theories, letting the frightened and disaffected do the actual dirty work of burning, looting and killing.

While the true evil hides in the shadows and bides his time, stirring the population of York into a frenzy, keeping Owen Archer busy protecting too many people on all sides, so that the evildoers can slip away and start over again in some other unsuspecting place.

Escape Rating A: Written during a real-life pandemic, this historical mystery is set during a real-life pandemic. Life imitates art imitates life in a kind of neverending spiral. But that’s human beings for you, all the way around.

The series as a whole, although it’s written in the third person, generally focuses its perspective and its action through Owen Archer. He’s the investigator of this historical mystery series and it’s his doings that bring the perpetrators to justice – or at least bring the reader to their catharsis.

But this is a story about the dangers that women face, their actions and their reactions, in a world where men hold all the power, so it’s fitting that the focus of this story switches from Owen to the healer Magda Digby. She, like Owen, is a protector, but because she is female, and does not kowtow at all to the church or to any man, she is an object of fear and suspicion, an easy target for men in power to use as a scapegoat when they need one. With the return of the plague, fear is running rampant among the populace, making a scapegoat for all of that fear an unfortunate necessity – at least from certain perspectives.

So a big part of what this story does is show just how easy it is for a few people to cast suspicion on anyone who is different. It’s also a story about desperate people clinging to anything that will drive their fears away or help them make more sense of something they rightfully fear, even if that sense is mistaken and goes against what they already know to be true.

Even if those in power are stoking their fears at the expense of people’s own self interest. A self-interest that they are already too frightened to come to grips with. And doesn’t all of that sound entirely too familiar?

So a huge part of this story is Magda Digby maneuvering around and/or outright ignoring the forces that are quite literally out to get her. She continues her self-appointed rounds, tending to the health of the people who live on the margins of her adopted city – even as some of them turn on her in fear and desperation.

Meanwhile, there is a series of crimes to be solved, even if not all of them are initially recognized as such. Because, again, the people attempting to raise the hue and cry are all women, and the perpetrators are men. Men who are in such positions that no other man can believe they might be villains – especially when all the accusers are “just women”.

This turned out to be a single-sitting read for me – minus the necessary ‘human breaks’. Magda has been a central character throughout the series, but always a mysterious one, as she would prefer. This is the first time we’ve seen a story mostly from her perspective, and it’s also the first time we’ve learned a bit about her past. She’s a character who straddles two worlds, the pagan or heathen societies that raised her and trained her versus the church-controlled city she lives on the edges of.

She’s a wisewoman who might just be a practitioner of real magic. Or might just be an old woman who has experienced a lot, shares the wisdom she has gathered in her long life, and just occasionally dreams that she is a dragon swimming in the river. That this particular question is never really answered feels like an integral part of her mystery.

And in the end, this one still manages to tie itself back into the long-simmering political crisis that is about to rear its ugly head, and to the events of the previous book in the series, A Choir of Crows. I enjoyed this entry in the series for the new insights it brought into a beloved character, its slightly different perspective on Owen Archer’s York, and for the way it echoed entirely too many 21st century crises by reflecting them into a past in which they fit just as well as they do today.

When two bodies are discovered in the grounds of York Minster shortly before the enthronement of the new archbishop, Owen Archer is summoned to investigate.
December, 1374. With the great and the good about to descend on York for the enthronement of Alexander Neville as the new archbishop, the city authorities are in a state of high alert. When two bodies are discovered in the grounds of York Minster, and a flaxen-haired youth with the voice of an angel is found locked in the chapter house, Owen Archer, captain of the city bailiffs, is summoned to investigate. Tension deepens when an enigmatic figure from Owen's past arrives in the city. Why has he returned from France after all these years - and what is his connection with the bodies in the minster yard and the fair singer? Before Owen can make headway in the investigation, a third body is fished out of the river - and the captain finds himself with three mysterious deaths to solve before the all-powerful Neville family arrives in York.

My Review:

By some reckonings, the events in A Choir of Crows take place during the “Little Ice Age”, the era in European history that spawned the sumptuous costumes that we associate with Renaissance Faires today. Because it was just so damn cold. You can practically hear the icy winds of December, 1374 whistling through this story.

The chill actually feels pretty good in this strange summer of 2020. It’s already hot down here.

But I came to this story not for its bracing weather, but because I got into a mood for historical fiction and mysteries, and this series always satisfies that particular itch.

Like the best of its kind, the Owen Archer series takes place during a time of great upheaval, and it mixes its search for whodunnit with insight into why it was done – or why it was covered up – and who is playing politics with whom and to what ends as Captain Owen Archer investigates a series of murders in his city while the worthies of the entire country descend upon York for the investiture of its new Archbishop.

Who is a much lesser man than the one he replaces. A man who is very much beholden to and under the heavy thumb of one of the most ambitious lords of the entire kingdom – his older brother, Sir John Neville, Baron of Raby. The Nevilles were one of the great families of Northern England, and they rose to become kingmakers during the Wars of the Roses.

This series is set at what will be the foundation of those Wars, as King Edward III is old and infirm, his oldest son and heir, The Black Prince, is young but struck down by disease, and the crown will become a prize in the squabbles between alternate heirs, sons, grandsons and even great-grandsons of Edward III in the mid-1400s.

But that is in the future. In the present, Owen Archer has a mess on his hands. Three men are dead. His assistant has discovered a young woman, disguised as a young man, at the site of two of the deaths. One might have been by misadventure but the other was certainly murder. The murdered man was a clergyman, he died within the precincts of York Minster, the Archbishop has not yet been invested in his throne – not that anyone believes he will know how to deal with this problem – unlike his predecessor.

There is a vacuum in authority, but a desperate need to put the entire situation behind them before the archbishop and his party – particularly his powerful brother – arrive on the scene to force a solution. One that suits them rather than any truth.

Owen is under pressure to solve the crimes and protect the young woman who seems to be at the heart of the mess while still being a victim of it. And to keep his family and friends safe from the power struggle yet to come.

Because Owen is not merely the Captain of the City Watch. He’s also The Black Prince’s right hand man in York – making the Nevilles his enemies – quite possibly of the deadly variety.

Escape Rating A: I absolutely adore this series, and reading this now instead of in a couple of weeks was definitely a case of the right book at the right time. After yesterday’s review, I really, really wanted to read this next – so I did.

But as much as I love this series, I’ll admit to having a difficult time figuring out where to recommend a newbie start it. Part of what I love is the way that the mystery dovetails into the history – and this is an era of history that I studied a bit and remember. So I’m riveted pretty much all of the time. I don’t think that would be true for someone who came into it cold, particularly not 12 books in.

Memory says that in the beginning the political situation was less complicated and less part of the story, that the focus was much more on the mystery and on the characters, as Owen arrives in York gets caught up in solving a murder, and is caught between hunting for a killer and fearing that the killer is the woman he has fallen in love with. So start at the beginning with The Apothecary Rose. If historical mystery is your cup of tea, it’s a great place to begin. (If the historical period in which this series takes place fascinates you, Jeri Westerson’s Crispin Guest is operating just a decade or so later, and the political mess has only become even more fraught in the interim.)

Back to A Choir of Crows. Yes, I know that the collective noun for crows is a murder, but that’s not what is being referred to by the title. Just FYI.

The story here does an excellent job of mixing the people with the politics. And in this instance I mean politics with a small “p” and not the large “P” of the national political upheaval going on at the time.

While Owen’s methods for solving crime may lack in 21st century forensics, the issues that he has to deal with are all too familiar. He has to solve the murders before the powers-that-be arrive and force a solution. We’ve all seen that in contemporary life and policing, where someone is railroaded into a confession so that everything can be swept under the carpet. Forensics may have advanced, but human nature hasn’t changed much at all – not even in seven centuries.

The young woman at the heart of this mystery is a victim every bit as much – actually as it turns out quite a bit more – than the man who was murdered. But she’s all too aware that even though none of what happened is in any way her fault, she’ll still be blamed for all of it merely because she is female. And that hasn’t changed much either.

However, as many things and issues as are wrapped around this case, at its heart is a good man determined to see justice served, protect his family, his friends and his city to the best of his ability, and to keep his word and his oaths. And that’s a story well worth reading, whether it takes place in this or any other era.

A few years ago, after the story in A Vigil of Spies, it felt like this series was coming to an end. While it would have been a fitting ending, I was pleased as Punch to see Owen return in A Conspiracy of Wolves. And I hope to see MANY further adventures in this well-written, thoroughly researched and utterly compelling series.