Justice for Thomas Cromwell
JUSTICE “Law & Literature” event – 11 February 2015, Great Hall, Middle Temple, London
Three months ago, JUSTICE hosted their third event in what seems to be the increasingly popular “Law & Literature” series, and surely there was no better venue than the Great Hall of Middle Temple for Hilary Mantel to read from her new, as yet unfinished novel, The Mirror and The Light, the third in the trilogy featuring Thomas Cromwell as its protagonist. Up to this point in the series it was noticeable that JUSTICE had carefully selected their authors based on some sort of affinity with the law and, understandably, justice. The first event featured Julian Barnes discussing his novel Arthur & George, which revolves around a well-known miscarriage of justice, and that talk was followed by another given by Robert Harris on An Officer and A Spy, also about a notorious miscarriage of justice (l’affaire Dreyfus). Although the theme of righting wrongs was not so immediately obvious with Mantel’s trilogy of Tudor-age tomes, all doubt was cast aside at the entry to the event, where the title of the reading was unveiled as “Justice for Thomas Cromwell”, slightly giving away the plot of the third instalment in the process. Of course, Cromwell himself was also a lawyer, among many other things it seems, if we are to believe Mantel’s retelling of his life and times as one of Henry VIII’s closest consiglieri.
Mantel’s is certainly not what you would call a booming voice, and the size of the venue meant that the audience had to lean forward as one to catch everything she said. Again, perhaps given the high proportion of lawyers in attendance, she was quick to point to the legal mechanics underpinning the history of the novels: England’s break from Rome was about “jurisdiction not ideology”. In other words, the separation of the Church of England from the Roman Catholic Church was not about a disagreement over religious doctrine, but rather about sovereignty and the right to self-determination. In that sense, certainly, it could be said to anticipate by half a millennium the current political tussle over the Human Rights Act/European Court of Human Rights, which also seems to have little to do with legal philosophy and everything to do with perceived foreign interventionism and the fact that politicians never like to have their power challenged. I suspect that the organisers of the event at JUSTICE may have made that connection before inviting Mantel to be a speaker.
Mantel said she was less interested in the formalities of history and power than she was in the behind-the-scenes wrangling that actually leads to agreements being reached between kings and countries. To this extent, her interpretation of Cromwell is as the ultimate manipulator of events (almost like a slightly more benign 16th century version of Frank Underwood), whose pragmatism stands in marked contrast to the ivory tower intellectualism of Thomas More. In Mantel’s world, less gets done in the great halls of power than in its courtyards, corridors and kitchens; one would imagine that little has changed over the ages in this regard. However, it is these interstitial spaces between what we know as history that Mantel has made herself master of. It reminds me of something Julian Barnes once wrote about his aversion to famous dates; he said he was less interested in 1492, for example, than 1493 – i.e. what happened when Columbus got back to Europe and took all the credit for finding the new world? The answer is that things continued very much as they had been before, except that the man who actually first sighted America wound up as a gunrunner in north Africa.
I think it is Mantel’s eye for detail and nuance, her ability to humanise historical characters by revealing both their strengths and their weaknesses, that accounts to a large extent for the incredible success of her novels. However, it is also her immense skill at filling in the void between what we think we know actually happened at the time. To this extent, I pity historians of the period who must be unable to read Mantel’s novels without a considerably heftier degree of scepticism.