Sister Fidelma
(creator: Peter Tremayne)

Sister Fidelma, I am glad to report, has a very prolific author who is still very much alive and busy producing even more stories about her. This is Peter Tremayne, the pen-name of the Irish Post columnist Peter Berresford Ellis. The Sister Fidelma stories (only a small part of his total output) are set for the most part in mid-seventh century Ireland at a time when the Roman church was winning power from the Celtic church - and very convincing it all sounds. Tremayne did his degrees in Celtic Studies, is a Fellow of the Royal Historical Society and of the Royal Society of Antiquaries of Ireland, and writes with real knowledge and understanding.

Sister Fidelma, when we first meet her, is not only a religieuse, but is a qualified dalaigh, or advocate of the ancient laws of Ireland. Don't be put off by the Celtic background - or by the rather difficult Irish names. Everything is clearly explained. Accompanied by her friend, the Anglo Saxon Brother Eadulf (whom, it could well be said, she gets to know better and better from book to book), she experiences all sorts of dramatic and often violent adventures (including one involving an assassination attempt planned at the Synod of Whitby in 664 AD) but what intrigues me most is the picture the books paint of Celtic Ireland at a time when there were still mixed sex monasteries, when monks and nuns were allowed to marry and when women could become lawyers and judges. Fidelma enjoys real respect, power and equality - but no doubt it is a help being sister to the king!

At first Sister Fidelma was just featured in short stories, but the later full-length novels are much more satisfying because Tremayne is good at building up suspense and developing attention-grabbing plots: Absolution by Murder, appeared in 1994, and was followed by Shroud for the Archbishop (1995), Suffer Little Children (1995), The Subtle Serpent (1996), The Spider's Web (1997), Valley of the Shadow (1998), The Monk Who Vanished (1999), Act of Mercy (1999), Hemlock at Vespers (collected short stories, 2000), Our Lady of Darkness (2000), Smoke in the Wind (2001), The Haunted Abbot (2002), Badger's Moon (2003), The Leper's Bell (2004), Whispers of the Dead (more short stories, 2004), and Master of Souls (2005). Interestingly, he does not work out his plots in advance, but just lets them develop as he writes. He is perhaps less assured with descriptive passages, as when he writes, "It was a moment of pure chemistry. Some empathy passed from the dark brown eyes of the man into Fidelma's green ones". One way and another, there seems rather a lot about her green eyes and red hair.

Master of Souls (2005)
Master of Souls makes a good story. Set in January 668, it starts with wreckers luring a merchant ship onto the rocks, then Fidelma and Eadulf are sent to investigate the murder of an old scholar at the Abbey of Ard Fhearta. As always, the story is full of dramatic action and real surprises, as when it seems that the dreaded Uaman the Leper (last seen by Eadulf being swallowed up by quicksands) has returned to terrorise the neighbourhood.

It is a murderous tale that grips the interest throughout. Fidelma is still very much the leading partner, although "for nearly a year now Fidelma and Eadulf had been joined as ban charrthach and fer comtha, partners for a year and a day, a legal marriage under the law but a temporary one. After a year and a day, if incompatible, they could go their separate ways without blame and without payment of compensation to one another". Poor Eadulf complains that, instead of settling down together, "We seem to be constantly drifting from one drama to another", and very much misses their baby son Alchu, whom they have had to leave in safe keeping. All this background material is really fascinating, especially as the abbey is "a conhospitae, a mixed house in which male and female live together working for the glory of God and where their children are raised to that ideal".

But, in practice, children "are frowned on" and there are those who believe it should become an all-male stronghold. An old monk insists that "a person cannot be married and be perfect. Was it not the Holy Father Gregory the Great who pronounced that all sexual desire is sinful in itself? Fidelma snorted in disgust. 'You mean that such a natural desire is therefore evil? Is it then suggested that the God we worship created such an evil?'
'We of the religious should live in celibacy,' replied the old man stubbornly. 'I adhere to the Council of Laodicea that women should not be ordained and that women presiding at the Eucharistic meals is something that should not be tolerated.' " It all sounds very contemporary.

The 7th century provides a particularly interesting setting because of the mixture of old Celtic Christian and incoming Roman Catholic ideas, mixing with pagan beliefs. As Gaeth, a village blacksmith, says, "We are not Christians ... That is why we dwell apart in order that those would proselytise us do not bother us. Argument is a tedious thing. We each come to the Dagda, the Good God, along our own path." "It seems that you are well-named, Gaeth," Fidelma said, for the name meant clever and wise.

The Irish names aren't always easy to cope with: "There were still members of the Ui Fidgente who refused to accept the rule of Donennach of the Ui Chonaill Gabra. They wanted to see the return of the rule of the old dynasty of the Ui Choirpre Aedba. Yet both families traced their descent to Fiachu Fidgennid." A little of this goes a long way, and it is not really helped very much by the inclusion of several pages of Pronunciation Guide at the end of the book. But skip over the names, and just enjoy the fast-moving story and the convincing background, and look out for all the issues that are still relevant today. Recommended.

A Prayer for the Damned (2006)
A Prayer for the Damned is set in Cashel in AD 668. The capital is thronged with visitors who have come to celebrate the marriage of Fidelma of Cashel and Eadulf, her long-time Saxon friend. Their trial marriage had lasted for the appointed year and a day, during which little Alchu had been born, but now they had decided to confirm their marriage vows.

But on the eve of the ceremony, the unpopular but supposedly pious Abbot Ultan, who opposed the marriage on the grounds that the religious should not be allowed to get married, is found murdered in his bed chamber. But was he really the virtuous man he claimed to be? Fidelma, appointed to defend Muirchertach Nar, King of Connacht, who has been accused of the brutal murder, discovers that many of the guests have good reason to hate the Abbot. Then another death follows and the wedding has to be further postponed while Fidelma continues her investigations.

This makes a much less gripping story than its predecessors because almost all of it happens in one place, Cashel, and much of it is taken up with Fidelma asking questions about the past rather than having exciting adventures of her own. And the Irish names seem to grow more and more involved, with text like: "I was playing a game of brandubh with Dunchad Muirisci of the Ui Fiachracha Muaide until close to midnight."
"Dunchad Muirisci, the heir apparent to Muirchertach Nar?"
And so it goes on. The game of brandubh is not actually explained for another 24 pages.

The arguments about whether or not the religious should be able to marry are of some interest. Fidelma argues that, "Most priests and other religious throughout all the kingdoms of the world still marry. I have heard that this inclination towards celibacy seems to be part of a movement emanating from those who seek to denigrate the role of women in the world." But this is no substitute for exciting action.

Fidelma admits that "to enter a religious house in order to pursue a career in law was but a stepping stone for me. I cannot say that I was really an advocate of the Faith." But , even so, she won't be bullied into disclaiming her vow to serve the Faith, and is determined to sort out what has happened. "She felt that old sensation that there was something not quite right." The one person she never seems to spend much time with is her own son Alchu, but then he has a full-time nurse. She is getting rather arrogant too: She compares her pursuit of the murderer to a game of brandubh: "The brandubh board will now become the great hall where all the players and pieces will be gathered. Before the Chief Brehon Barran, I shall commence my attack. eliminating each suspect before cornering the murderer." And so she does. But it is not one of the more exciting books.

Dancing with Demons (2007)
Dancing with Demons includes characters with names such as Mer the Demented, Erc the Speckled and the Lady Gormflaith, so this gets it off to good start! Set in the early winter of AD 669, it is, as the author explains "not so much a whodunnit as a whydunnit - or is it?"

Sechnussach, High King of Ireland, is found dead in his bedchamber with his throat cut, and Dubh Duin, the chieftain of the clan Cinél Cairpre, the assassin who is caught in the act, stabs himself to death. The Chief Bredon of Ireland asks Sister Fidelma to find out what possible motives could have driven Dubh Duib to murder the High King.

Fidelma, accompanied by her partner (and now husband) Brother Eadulf and two Cashel warriors, sets off for the High King's palace at Tara. This leads on to a series of violent and exciting adventures in which both Fidelma and Eadulf are taken prisoner at the same time, although in different places and by different captors. And, in each case, they are just about to be killed, when their attackers both "fell to the ground", mortally wounded. What a happy coincidence! Usually the author is much more convincing.

Tremayne is usually a good story-teller and he brings his characters to life (he is quite capable of killing them off too, so you can never be sure what is going to happen. But you get involved and this keeps you reading).The Irish background is handled with the author's usual skill, although sometimes he still goes over the top with the Irish names, as when he explains: "Dubh Dahn traced his descent back from Niall's son Cairpre while Sechnussach traced his back to Niall's son Conall and the line of Sil nÁedo Sláine."

The conflict with remaining adherents of the Old (pagan) Faith is well described. But, as Fidelma tells Eadulf, "Part of me is worried that we are creating a deep abyss between our new world and those of our ancestors in the old world. Once that chasm has been made, we will never be able to re-cross it and know their thoughts, their fears and their hopes." Yet this is exactly what this author manages to do.

Fidelma herself is far from a saintly figure. For one thing "she did not believe in miracles of any sort". Years ago, she had been "ill-suited to life as a religieuse at the abbey of Cill Dara" and had soon left it. She is much happier acting as a dálaigh ("qualified to the role of anruth," as she keeps telling people), who happens also to be sister to a king, and is very conscious of her superior position, so Eadulf usually just does as he's told. When she and Eadulf set off for Tara she says that "it grieves me to desert my son after returning here a short time". Then, when she has solved the mystery, she announces, " 'It is time we returned to the peace of Cahil and to our little Alchu. At this rate, our poor child will not know us. We barely spend any time at all with him.' Eadulf grimaced but wisely said nothing." She is hardly the world's most devoted mother.

Ironically, one thing she detested, according to Eadulf, was "arrogance in others", so, imperfect though she may be, she comes across as a real human being. Yet she can be tolerant too: "We do not have a monopoly on all that is good .... The New Faith binds us to have charity towards all and not to fear those who follow different paths."

She makes a shrewd questioner and is at her best when she holds the floor at the Great Assembly, when she produces a whole series of surprises, but all of them credible. Although the pace slackens here and there, her presence holds the interest throughout.

The Council of the Cursed (2008)
The Council of the Cursed is set in AD 670. Bishop Leodegar of Autun in France has called the church leaders from Western Europe together to deal a final crippling blow to the Celtic Church. But a fierce row soon breaks out and the meeting is brought to an abrupt close. Later that evening the body of one of the delegates is discovered, his skull brutally smashed. The council is under threat - but from whom? Fortunately Sister Fidelma and Brother Eadulf have been called to Autun to act as advisers to the Irish delegation and they soon find themselves involved in a terrifying murder investigation, having to confront not only the autocratic bishop Leodegar but the malignant abbess, Mother Autofleda. Fidelma discovers that women and children seem to have been disappearing without trace. Could the Abbess have some involvement with the slave trade?

The story gets off to a slow start with all the bickering beween delegates, and it is only when Fidelma starts on a dangerous exploration of the Domus Femini (women's quarters), that excitement really builds up. Fidelma herself gets bitten by an adder, almost squashed by a falling statue, and eventually gets knocked out, so, once she is hot on the trail, there is no lack of incident.

As always, the background details are full of interest, as when Fidelma is horrified to discover that "the farm work (at the abbey) is done by the slaves and supervised by the brethren". Slavery is an idea that she finds repugnant. Since Bishop Leodegar had taken over a year before, the abbey was no longer a mixed house. As a monk told her, "Many here still have wives and even children in the adjoining Domus Femini - wives we had to put from us if we wished to continue as religious here."
Fidelma raised an eyebrow. "Put from you?" she queried.
"Declare before God and the bishop that we no longer recognized our marriage vows because God had the greater calling on us," confirmed Brother Chilperic.
"And what would have happened had you not done so?"
"We would have had to leave and seek another place."

Usually the most boring parts of detective stories are the pages and pages of detailed explanations that bring them to an end, but here all is explained by Fidelma in front of the whole abbey and it makes an exciting conclusion, even if, ultimately few of the characters are to meet a very happy ending.

The Dove of Death (2009)
The Dove of Death is set in the summer of AD 670. An Irish merchant ship is attacked by a pirate vessel off the coast of one of the Southern kingdoms on the Breton peninsular. Murchad, the captain, and Bressal, one of his passengers, are killed in cold blood after they have surrendered. Amongst the passengers who manage to escape the slaughter are Sister Fidelma and Eadulf. Safely ashore, a grim task confronts Fidelma. Bressal had been her cousin and Murchad a friend of long standing. Fidelma is determined to bring the killers to justice, spurred on not only by the fact that the killing demands family retribution, but also by her training as an advocate of the law system of her own land. Fidelma's task is not an easy one as her only clue was that the attacking vessel was carrying on its sails the symbol of a dove - the insignia of her Breton host.

There are some really exciting moments as when Fidelma's ship comes under attack, led by a captain who "appeared to be a young man, but he was shrouded from head to foot in white so that his face was not seen." He had a peculiarly shrill voice too, and we are given occasional clues as to who this might be, but it needs Fidelma's particular skills (including her ability to recognise the ship's cat, and to identify arrows) to sort this all out.

The author is, of course, a historian and this sometimes leads him into telling us more than we really want to know, as when he explains, "After Canao died, his one surviving brother, Macliau, became King - and when he died, his son, another Canao, became King. Then he died and Judicael of Domnonia claimed the kingdom. In fact, Judicael claimed kingship of all the Bretons and also descent from Waroch. So he named the kingdom as Bro-Waroch, the country of Waroch."

On the other hand, other historical details are fascinating, as when Fidelma is questioned by her rescuer, Brother Metullus, about the way that "even a woman could succeed to be head of the family in your land".
"It is so."
"It would not be allowed in Rome."
"So I learned," agreed Fidelma. "In your republic, a man had complete control over his wife and family, like property .... "
"And your ways are better?" challenged the Brother.
"Our ways are different," conceded Fidelma, "but, on balance, I would argue that life for our people is, in many ways, better. But each society has to develop according to their beliefs and conscience. My argument with Rome is that what is good for Rome is not good for the rest of the world, whether imposed by the military legions that dominate the world or by the Church in Rome that tries to tell people how to behave even in lands far distant, with different customs and ways of looking at the world."
This leads to an interesting discussion about Rome's claims for supremacy, which Fidelma, of course is not prepared to accept. She has no objection to services being held in Latin but explains that, "We prefer to conduct our services in the language of the sacred texts - which is Greek." Another revealing detail - nothing to do with the plot, but intriguing nevertheless.

The highly dramatic use of a secret weapon (liquid fire) eventually determines the outcome of an exciting sea battle, and in a dramatic finale Fidelma exposes the identity of the mysterious and murderous person in white. This final denoument comes as a surprise to everyone, and once again (unlike so many long explanatory endings) holds the interest throughout.

Fidelma's long-suffering husband, Brother Eadulf, manages to get himself almost drowned on two separate occasions, but otherwise just meekly obeys Fidelma's numerous instructions, reminding her on occasions that it was a long time since they had seen their young son back at home. There's no doubt about who wears the trousers in this family!

The story offers the usual combination of gripping action (including murderous attacks, rape and stabbings) and difficult names, leading to sentences like, "I am told that his Cousin Finsnechta Fledach, the son of Dúnchad, who was brother to Cenn Fáeled's father, has raised objections." Unfortunately, though, the Breton setting proves less interesting than previous ones, and you cannot help but feel that the author may be running out of new ideas.

The book ends with Fidelma wondering "whether she should give up the symbols of religious life. That would not be difficult for her, as she had never really been committed to them .... She was no religious at heart. She knew it. She even challenged some of the basic dogmas of the Faith where she felt they needed it." So her final thought is "about leaving the religious altogether and taking her place in the role that she had, unofficially, long since filled. That was the role as a legal adviser to her brother, Colgú, King of Cashel." Perhaps that would also give the author some new ground to explore.

The Chalice of Blood (2010)
The Chalice of Blood sees Fidelma finally rejecting her life as a religieuse, but, as she explains," I am not rejecting the Faith … The Church has little need of me to serve the Faith, but the law does have need of me." Her ambition is to become the Chief Brehon of her brother's kingdom of Muman.Meanwhile she is going through a very awkward time in her marriage to Eadulf who wants to continue his life as a religieux and is opposed to her pursuing a career in law. But for Fidelma, “The law comes first and Faith comes second.”

When an eminent scholar is found murdered in his cell in the Abbey of Lios Mór, fear spreads among his brethren; his door was secured from the inside, with no other means of an exit. How did the murderer escape? And what was the content of the manuscripts apparently stolen from the scholar's room? Abbot Iarnla insists on sending for Fidelma to investigate the killing, and asks that the reluctant Eadulf should come too. But even before they reach the abbey walls, there is an attempt on their lives. Fidelma realises that "she could not really contemplate an existence without Eadulf's support. Who else would tolerate her sharp temper?” But she cannot make up his mind for him ....

The story gets off to an arresting start and holds the attention throughout. It is no mean feat to achieve this in such a long-running series, which makes it such a happy contrast to so many of the overlong series described in these pages. Occasionally Fidelma verges into the pompous, as when Eadulf tells her, "I realise that it is your brother who is trying to mend fences; it was not your doing to bring me back to Cashel.”
She then replies “It is not that I regret his interference, Eadulf. I welcome it as a means whereby we might try to rebuild our relationship on a better footing. I am firm in my resolve to pursue the course I have set myself. I would be a hypocrite to do otherwise. How that will square it with whatever else must be taken into consideration …. Well, we must talk more clearly when there are no other problems to distract our thoughts.”
“Agreed, Eadulf replied with a smile, and you feel that he sees through her pomposity and really understands her.

So the reader becomes involved in their relationship as well as in the intricacies of the plot which make this an exciting and engrossing story. When it comes to uncovering the truth and standing up to her critics, Fidelma proves to be as formidable as ever. And the graphic descriptions of life at the time (and to the critical writings of the second century Greek philosopher Celsus) add to the interest.

Behold a Pale Horse (2011)
Behold a Pale Horse is set back in AD 664 when Sister Fidelma had found herself in the seaport of Genua en route from Rome back to her native Cashiel. Her old teacher, Brother Ruadan, lies dying in the abbey of Bobium - a disturbed country where even the Christians are in bloody conflict with one another, and the worship of pagan gods often prevails.

Fidelma is determined to see Brother Ruadin before he dies, not realising that her dying teacher's last words would send her off on a dangerous adventure where murder follows murder and a vicious civil war is a constant threat.

As always, it all gets off to a good start and there is plenty of action in the story which is the only one in the series (excluding the short stories) that is out of chronological order, as its real place would be just after Shroud for the Archbishop. This, and the absence of Brother Eadulf, make it just a bit less appealing than usual, and it is not always easy to remember who is who, and there are times when not all the chunks of history and elaborate explanations seem to be absolutely necessary.

But there is still plenty to hold the interest as when we read of all the in-fighting between traditionalists and followers of Arius (who had taught that "There could be only one God. While God the Father had existed eternally, God the Son, born as Jesus, did not and was therefore created by, and thus inferior, to God. He even argued that this meant, at one time, Christ (and the Holy Ghost) did not exist.'" It was this dismissal of the doctrine of the Trinity that had led to him being declared a heretic at the First Council of Nicaea and all his works being banned.) Fidelma, we are told, "saw a logic to the argument, which she had never heard before." She felt that, "Surely there was no needs to kill one another over that?" But then she also had her doubts about the omnipotence of God - but, of course, she had never been "passionate abour religion". However, she remains a formidable and intriguing character - and it is a considerable achievemnent that the author has managed to sustain her appeal through such a long series of books.

The Seventh Trumpet (2012)
The Seventh Trumpet is set in Ireland in the harvest season of AD 670, and follows on from The Chalice of Blood. When the body of a murdered young noble is discovered not far from Cashel, the King calls upon Fidelma (she has given up being Sister Fidelma, more's the pity) and her companion Eadulf (who keeps pointing out he is an Angle not a Saxon so often that it gets rather repetitive) to investigate. The only clue to the noble's identity is an emblem originating from the nearby kingdom of Laign. Could the murder be somehow related to the violence erupting in the west of the kingdom? The turmoil is led by a fanatical figure claiming to have been summoned by 'the seventh angel' to remove the 'impure of faith' from the land, and Fidelma and Eadulf soon find themselves struggling with a complicated mix of murder and intrigue, involving the dead noble, a murdered alcoholic priest, and a menacing abbot who has built his abbey into a military fortress. When Sister Fidelma herself becomes the victim of abduction, it is, as you'd expect, up to Eadulf to find and save her from imminent death, so that the mystery can be solved.

The story has its interesting touches such as the way that Fidelma disapproves of her royal brother's intended marriage partner, and seems to sulk after not being appointed Chief Brehon, although she admits, without enthusiasm, that the man appointed "does have much more experience than I do." However, as she points out to Eadulf, "I have not left the religion, only the religious." Anyway, for years now, she had "acted independently of any Rule or religious authority. To be honest, and I'm sure that you would admit it, my recent leaving was a formality only." Eadulf still does not really approve of this and keeps on wearing the robes of a religieux.

There are the usual informative explanations of life at the time, as when we are told that "The daer-fuidir was the lowest of the social classes in all the five kingdoms. They were usually criminals, and liable to pay a fine or compensation, or sometimes they were even captives taken in battles from other lands. Fidelma knew that a daer-fuidir, if he showed remorse and industry, had the ability to progress to the level of saer-fuidir. That meant he could be allocated land from the common wealth of the clan and be allowed to work it in order to pay off the debt to society. Some daer-fuidir could accumulate sufficient wealth and status to move forward to become a clansman, a ceile, with full rights."

Interesting too is the description of eating habits of the time: "There were even basins of water provided, for the custom was to use a knife in the right hand and eat with the fingers of the left hand, leaning them in the water and drying them with a lambrat or hand cloth."

Unfortunately, though, the story gets off to a slow start and offers less dramatic action than previous ones. You begin to wonder if it's really worth working through the welter of confusing Irish names as it only begins to come to life with the kidnapping of Fidelma - but even this lacks the usual excitement (she is found and rescued comparatively easily) and you have to wait until the storming of the enemy fortress before it gets really exciting.

At one point, a warrior suggests, "We should move on. The longer we stay here discussing things, the more dangerous it becomes." In fact, in this story a great deal of time is spent discussing possibilities and theorising about what might or might not have happened, and this is no substitute for a really gripping plot.

Even Fidelma herself doesn't seem to be quite as interesting or attractive a character as she once was. She seems to get more and more pompous, as when she pronounces, with reference to the drunken Brother Ailgesach, "Intoxication to this degree is reprehensible in one who aspires to be a religious." And it is the long-suffering Eadulf, not her, who first points out that Brother Ailgesach had been murdered whereas Fidelma had supposed he had just choked to death on his own vomit. And it is Eadulf who works out the direction in which her kidnappers' boat must have gone. He seems to have more of the best lines too as when, complaining about being on horseback so often, he comments "I have been sea-sick many, many times. Is there such a malady as horse-sickness? If so, I have had it."

This is the 23rd book in the series and if the author has lost some of his drive, you really can't blame him!

Atonement of Blood (2013)
Atonement of Blood is set in the winter of 670 AD. King Colgu has invited the leading nobles and chieftains of his kingdom to a feast day. The gathering is interrupted by a religieux claiming that he has an important message for the King. Suddenly, the man, shouting 'Remember Liamuin!' stabs King Colgu. The assassin is slain but Colgu is on the verge of death. Who is behind the assassination attempt? The King's sister, lawyer Fidelma of Cashel, and her husband, Brother Eadulf, are charged with solving the mystery. They must journey into the territory of their arch-enemies, the Ui Fidgente, where they uncover dark secrets from the past. It all gets very complicated, and even Eadulf admits, "I have never encountered such confusion before."

The story gets off to a really good start with plenty happening to hold the interest, but the plot and lengthy explanations get increasingly tortuous and become bedded down in sentences like "When Nissan had founded the abbey, it was under the patronage of Lomman, son of Erc, Prince of the Ui Fidgente. When Nessan died it was endowed by Prince Manchin, son of Sedna, who claimed descent from Cormac Casa, who maintained that that his people were senior to the Eoghanacht in their claim to the Kingdom of Muman." There is still some exciting action but Fidelma's lengthy interrogations provide the reader with quite a challenge. Even so, she still has some arresting things to say, such as: "It is said that there are three kinds of men who fail to understand women: young men, old men and middle-aged men."

As usual Fidelma gets herself ambushed and asssaulted several times while her son, 3 year old Alchu, remains left at home under the care of a nurse/foster-mother. Only Eadulf seems to spare him a thought. Fans will still enjoy it, but, except for the opening chapters, the sparkle and brightness of invention of the earlier books are understandingly fading.

The Devil's Seal (2015)
The Devil's Seal is set in the Ireland of AD 671. When a curious deputation of religieux (including the Pope's brother) arrive in Cashel, their motive for coming is far from clear: "It seems," says King Colgu, "that these people have made a very long journey simply to engage in an exercise of pointless speculation and argument." But then one of them is murdered. Is one of them responsible? What was the Venerable Verax, the scholar from Rome, hiding? Was there an evil secret behind the austere Bishop Arwald? Indeed, what was the real reason behind Eadulf's younger brother Egric's unexpected appearance at Cashel - could he be the culprit? It had been over ten years since Eadulf had last seen him.

Unfortunately, the story lacks some of the suspense, dramatic action and excitement of earlier books, even although there are some eight violent deaths "if you count the boatmen" - and the usual attempt is made on Fidelma's life. Instead, there's a great deal of talk and conjecture which, in the words of King Colgu, begins to get "exceedingly boring".

The lengthy and not always all that relevant explanations of past history, customs and folklore can be quite hard to follow, as here: "Oswy wanted new missionaries to preach the Faith among the Cruthin over whose kingdom he ruled as lord .... Last year, before spring was on us, Oswy died. The Cruthin were then ruled by Drust, son of Donal, who had been a client king under Oswy. The Cruthen had long chafed under what they saw as rule by foreigners, and now they rose up in rebellion .... Things were also changing in Oswy's kingdom. There was a confusion of sub-kings of Deira and Northumbria, each vying for power. Wilfrid, who had led the pro-Roman faction at the great debate at Streonshalh, had obtained almost a king-like power. He began ensuring the removal of many of those who were of the old Columban Church, like Bishop Chad. Presumably he wanted them removed from any position where they might harm his Roman party. Even Oswy's wife, Eanfleda, and her daughter had fled for safety into the abbey of the dead King's relative, Hilda,who also still favours the teaching of Colmcille. Apparently, Wilfrid had full permission of Theodore of Canterbury to pursue these policies, and now Theodore had designated Wilfrid as Bishop of Northumbria."

it was more interesting too when Fidelma still had a religious vocation even if she was "always better suited to law". Even so, she is quite ready to turn down the position of Chief Brehon because she prefers "to be involved in administering the law." It is with people that she (rightly) thinks her strength lies so she is "content to remain an advocate." But she proves a better inquisitor than detective, for in this story her chief suspect manages to get himself murdered.

As you would expect from this author, there are still interesting parts as when Eadulf's unpleasant brother Egric fails to impress Fidelma's four-year-old son Alchu, and there is also a gripping, indeed quite horrifying, description of an amputation carried out by Eadulf. Eadulf, despite his Christian calling, seems quite happy to reassure his dying brother that "If you truly believe in the house of Vali, you will speed yourself to Asgard (Woden 's castle), little brother. Woden will be waiting for you ...."
"God's speed, little brother," Eadulf wept. "May Woden be ready to greet you in Gladsheim. And may my God forgive me for helping you journey to him rather than to the Heaven of the Christians." So by now even Eadulf does not seem to take his own religion too seriously.

The Second Death (2015)
The Second Death follows after the previous book and is also set in Ireland in AD 671. It is almost time for the great fair of Bealtain, and a line of painted wagons is carrying entertainers to Cashel to mark the occasion when one of the carriages is set alight and two corpses are found. Could they have been poisoned? As Sister Fidelma (she is really no longer a Sister but it is explained that that is how people still think of her, and the publishers have good commercial reasons to still refer to her as such on the cover) and her husband, Eadulf, investigate, they are quickly confronted by the mysterious members of the Fellowship of the Raven, and some really exciting situations develop against a background of violent struggles between adherents of the Old Faith and the New Faith of Christianity.

This book marks a real return to form and, once Eadulf gets kidnapped, certainly builds up the suspense. it makes an exciting read. It is interesting too to learn more about Fidelma, who admits that it was a mistake for her to have ever joined the religious just because at the time she "needed some security in life." She can get very sarcastic when talking to her brother, King Colgu: "It was not the first time that Eadulf had witnessed a sibling spat between the two red-haired offspring of King Failbe Flann. They both had short tempers (and) did not tolerate fools gladly." She can be impatient too and, when she makes a mistake and gets angry with herself, is liable to get angry with other people too. She seems a very real human being, if not always an entirely attractive one - but it comes as a surprise when she is referred to as still being "a young woman". She must wear her years well, particularly after all the extraordinary adventures she has been through!

Penance of the Damned (2016)
Penance of the Damned follows on from the previous book and is set later in A.D. 671. King Colgu of Cashel is shocked to learn that his loyal Chief Bishop and advisor has been murdered in the old enemy fortress of the UÌ Fidgente. When word reaches Cashel that the culprit will be executed under new Penitential law, a larger conflict threatens. Dispatched to investigate, Fidelma and her husband Eadulf discover that the man facing punishment is Gorman - commander of the King's bodyguard. But Fidelma cannot believe Gorman would carry out such an act - and yet he was found locked in a chamber with the body, weapon in hand. The evidence is stacked against him. If they are to save Gorman and keep the peace between the kingdoms, Fidelma and Eadulf must find the true culprit.

As always, the author insists on using as many Irish names and as much Irish vocabulary as he can, although this means he also has to offer numerous translations, a process that can get distinctly clumsy as when Colgu tells Fidelma that he must set off alone into dangerous country and she replies : "Alone? Why not with a cath, or battalion, of your Nasc Niadh, your bodyguard?". The Irish background is convincingly represented, although pages of sometimes quite unnecessarily detailed explanations of Irish history and customs sometimes slow the action down so that it is only after about a hundred pages that the exciting action really starts.

There are a lot of theological arguments about "Penitentials" that the new self-appointed and hateful Abbot of Imleach is seeking to impose, but there is no really clear explanation of what these are, despite the fact that, as one of the characters put it, they have been "so laboriously" discussed. Fidelma (who explains "I have left the religious - which is not to say I have left the religion") eventually unmasks the abbot for what he is, and the situation is saved by the totally unexpected arrival of Prince Deogaire who suddenly bobs up on page 312. His arrival is a bit too glib - but it's still a good story.

Night of the Lightbringer (2017)
Night of the Lightbringer Is set in Ireland in late 671 A.D. On the eve of a great pagan feast (which ''the new faith had not been able to suppress and therefore had tried to absorb"), Brother Eadulf and the warrior Aidan discover a man murdered in an unlit pyre in the heart of Cashel. He had been dressed in the robes of a religieux and killed by the ritualistic "three deaths". When a strange woman, known as Brancheo, appears in a raven-feather cloak, fortelling ancient gods returning to exact revenge upon the mortal world, she is quickly branded a suspect.

Fidelma (who is still wrongly called Sister Fidelma on the cover and publisher's blurb, but is now acting as legal adviser to her brother the king), helped by husband Eadulf, discovers a link to a mysterious missing book that has been stolen from the Papal Secret Archives and could lead to the destruction of Christendom. Hardly the world's most original idea!

Fidelma, to whom "law and justice are more important than which ideas one should adopt with regard to religion", and who had been craving for "some real mystery to unravel, some conundrum that needs an explanation", proves once again to be a dogged investigator, and there is plenty for her to look into, including a heavily fortified nearby abbey which has adopted the heretical Psilanthropist belief that Jesus was an ordinary man, and where she spots what may be the missing book.

As always, there are some fascinating glimpses into life at the time, as when it is explained that "there are six classes of tooth injury and the penalties vary according to the social status of the victim," but some of the other historical explanations seem over-lengthy, as do Fidelma's extended interrogations of possible suspects. She turns out to be remarkably agile so, when she decided to break into the heretical abbey, "it took her but little time to scale the wooden walls of the Abbey's garden" before clambering up ivy to reach a conveniently open window and once again "surprisingly, it did not take her too long." Then equally conveniently, she was able to eavesdrop a totally incriminating conversation before being knocked out, "falling into a dark space, twisting and turning in a never-ending abyss." It all seems a little too predictable. After her inevitable if rather unconvincing rescue, the story ends with a lengthy series of explanations by Fidelma which come as something of an anti-climax.

Despite a slow start, the story does have some exciting moments, but not as many as in the best of the earlier books.

Bloodmoon (2018)
Bloodmoon is also set in 671 A.D. and continues from where the previous book left off. It describes how Fidelma (she is, of course, no longer Sister Fidelma despite what it says not only on the cover but even on the list of characters) has a mission, but is sworn by a mysterious guis, a secret oath, to reveal her purpose to nobody, not even Eadulf, her husband (who oddly is described just as her companion in the list of characters), who accompanies her but feels natural resentment about being kept in the dark.

Fidelma says they, together with the warrrior Enda, should travel to the abbey of Finnbarr to question the Abbot. But before they have a chance to speak to him, he is found murdered - and the young girl suspected of the crime has fled the scene. This leads to Fidelma travelling far by land and water while vicious rumours are spreading, accusing her family, the Eoganacht, of conspiring to assassinate the High King and abduct his wife, and Fidelma's own life is repeatedly threatened and she has to rely on her own skill at unarmed combat before being shipped off to be a slave. You can't complain that nothing happens!

It is all more interesting than the previous book as there are many more dramatic incidents that make vivid reading, but the pace is slowed down by the inclusion of lengthy explanations couched in language like this: "Your brother is not the only Eoganacht Prince, lady. Finnbarr's Abbey is in the territory of the Eoganacht Raithland and Nessan was of that branch. But are there not also the Eoganacht Aine, the Airthir Chliach, the Glemdamnach, the Locha Lein? Don't forget even the Ui Fidgenti claim to be Eoganacht, as descendants of Cormac Cas, the brother of Eoghan." Even with the accents left out, as here, it doesn't exactly flow smoothly from the tongue, and there are other examples
too of the author telling us much more than we really need to know. Even Eadulf gets to wondering "why there was never a simple answer" and Fidelma herself admits,"It all seems so confusing." But it still makes an enjoyable read.

Blood in Eden (2019)
Blood in Eden is set in Ireland in AD 672. The hamlet of Cloichin is said to be a veritable Eden, with its prosperous farms and close-knit, friendly community. But when Sister Fidelma and Eadulf arrive, they soon find that the garden is not without its serpents: a new priest has ordered the villagers to lynch a man accused of murdering a local farmer, his wife and two sons. The only evidence they hold against him is the fact that he is a stranger to their land. In the dramatic opening, Fidelma saves the man's life, determined that he should have a fair trial, but finds that one problem leads to another, and we end up with "six murders, one being an illegal hanging, and one abduction plus an attempted murder ... oh, and a second attempt at an illegal hanging." Not to mention a possible attempt on Fidelma's life.

The villagers are led on by murderous Brother Garda, who calls himself Father, (much to Fidelma's disgust) and who champions the New Faith that has come from Rome. He tries to dismiss Fidelma and her legal authority, telling her, "You cite your pagan law when you should be obeying the laws given you by the New Faith ... You will obey the law of God or perish." But Fidelma is never one to give in to threats, and is quick to remind Garda and everyone else of her legal qualifications, until even Eadulf wearily complains that he has heard of them "enough times".

Much of the appeal of the story lies in the vivid description of life at the time, as when we learn about the inheritance rights of women, the fosterage system for children, and still-surviving pre-Christian beliefs about the Otherworld, the land of the Ever Young: "When someone died in this world, thet were reborn in the next. When someone died in the Otherworld, they were reborn in this." So death in this world was a time for rejoicing "because it means a soul has been reborn in the Otherworld. We mourn birth in this world because it means a soul has died in the Otherworld."

As always the Irish names can get very confusing, but there is plenty here to hold the interest. It is the 30th book in the series, and one cannot but congratulate the author on such an achievement, even if the list of principal characters at the front still shows Fidelma as Sister Fidelma and describes Eadulf as her companion not her husband.

Sister Fidelma has her own The International Sister Fidelma Society website where you will find much more background information.

Please sign my GUEST BOOK. All comments, contributions (or corrections) welcomed!


Valley of the Shadow cover
The Sister Fidelma UK paperback covers are all designed by the same artist, Lee Gibbons. They are not only highly appropriate but are immediately recognisable. A really attractive design.

American paperback cover
The equivalent American paperback cover looksmuch more cluttered.

Hardback dust jacket
The original hardback dust jacket. The lettering seems to block out the most interesting part of the picture. Not as stylish as the UK paperback version.

Return to