e-Book Wolf Hall download

e-Book Wolf Hall download

by Hilary Mantel

ISBN: 0805080686
ISBN13: 978-0805080681
Language: English
Publisher: Henry Holt and Co.; First edition (October 13, 2009)
Pages: 560
Category: Genre Fiction
Subategory: Literature

ePub size: 1551 kb
Fb2 size: 1122 kb
DJVU size: 1594 kb
Rating: 4.6
Votes: 722
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Home Hilary Mantel Wolf Hall. Wolf Hall, Wiltshire: September 1535. London and Kimbolton: Autumn 1535.

Home Hilary Mantel Wolf Hall.

FREE shipping on qualifying offers. view Kindle eBook view Audible audiobook. WINNER OF THE 2009 MAN BOOKER PRIZE WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR FICTION A NEW YORK TIMES BESTSELLER England in the 1520s is a heartbeat from disaster. If the king dies without a male heir.

Hilary Mantel's depiction of the omnicompetent Thomas Cromwell grips Christopher Tayler. In Wolf Hall, Mantel persuasively depicts this beefy pen-pusher and backstairs manoeuvrer as one of the most appealing - and, in his own way, enlightened - characters of the period. Taking off from the scant evidence concerning his early life, she imagines a miserable childhood for him as the son of a violent, drunken blacksmith in Putney.

Wolf Hall (2009) is a historical novel by English author Hilary Mantel, published by Fourth Estate, named after the Seymour family seat of Wolfhall or Wulfhall in Wiltshire. The novel won both the Man Booker Prize and the National Book Critics Circle Award

Hilary Mantel - image from The Guardian.

England in the 1520s is a heartbeat from disaster  . Hilary Mantel - image from The Guardian. One struggles to come up with a contemporary point of reference to help us grasp who Cromwell was. I suppose one might consider Thomas Cromwell to be a royal bug-zapper. There are other ways to see him of course.

Hilary Mantel's 'The Assassination of Margaret Thatcher' is coming out on the 25th September this year. A brilliant – and rather transgressive – collection of short stories from the double Man Booker Prize-winning author of 'Wolf Hall' and 'Bring Up the Bodies'. Hilary Mantel is one of Britain’s most accomplished, acclaimed and garlanded writers. Uniquely, her last two novels, 'Wolf Hall' and its sequel 'Bring Up the Bodies', both won the Man Booker Prize for Fiction.

Hilary Mantel’s Wolf Hall is both spellbinding and believable. 532 pp. A John Macrae Book/Henry Holt & Company. Continue reading the main story. We’re interested in your feedback on this page. Tell us what you think.

Hilary Mantel's Wolf Hall is a startling achievement, a brilliant historical novel focused on the rise to power of a figure exceedingly unlikely, on the face of things, to arouse any sympathy at all. This is a novel too in which nothing is wasted, and nothing completely disappears. Nothing in the last few years has dazzled me more than Hilary Mantel's Wolf Hall. Elizabeth Gilbert, author of Eat, Pray, Love

Henry asks him. It’s yours if you say s. .The Emperor has not come ust a chink, for the next Bisho.

Henry asks him.The Emperor has not come ust a chink, for the next Bishop of Rome to hold a conversation with England. Personally, he would slam it shut; but these are not personal matters. Now he thinks carefully: would it suit him to be Chancellor? It would be good to have a post in the legal hierarchy, so why not at the top? I have no wish to disturb Audley. If Your Majesty is satisfied with him, I am too.

In the ruthless arena of King Henry VIII's court, only one man dares to gamble his life to win the king's favor and ascend to the heights of political power

England in the 1520s is a heartbeat from disaster. If the king dies without a male heir, the country could be destroyed by civil war. Henry VIII wants to annul his marriage of twenty years, and marry Anne Boleyn. The pope and most of Europe opposes him. The quest for the king's freedom destroys his adviser, the brilliant Cardinal Wolsey, and leaves a power vacuum.

Into this impasse steps Thomas Cromwell. Cromwell is a wholly original man, a charmer and a bully, both idealist and opportunist, astute in reading people and a demon of energy: he is also a consummate politician, hardened by his personal losses, implacable in his ambition. But Henry is volatile: one day tender, one day murderous. Cromwell helps him break the opposition, but what will be the price of his triumph?

In inimitable style, Hilary Mantel presents a picture of a half-made society on the cusp of change, where individuals fight or embrace their fate with passion and courage. With a vast array of characters, overflowing with incident, the novel re-creates an era when the personal and political are separated by a hairbreadth, where success brings unlimited power but a single failure means death.

Movies based on books rarely live up to the magic of the book. That’s not a condemnation of movies or the movie industry, but rather a reflection of greatest source of magic of all—man’s imagination. No reality ever lives up to my best fantasies.
Normally, I read a book first and then—if a subsequent film production gets rave reviews—I’ll see the movie. Occasionally, the movie will live magnificently up to all my wildest expectations; To Kill a Mockingbird is a good example of movie-from-book perfection. And occasionally, rarely, a movie will surpass the book. I thought The Graduate a mediocre book, but the movie was and always will be a classic portrait of a particular time and place.
Which brings us to Wolf Hall. I’m not sure how and why I missed the book. It won a Man-Booker Prize (Great Britain’s equivalent of the Pulitzer, though over there they might say the Pulitzer is America’s equivalent of the Booker) and then author Hilary Mantel turned right around and won another Man-Booker for the sequel to Wolf Hall, Bring Up the Bodies. That is, I believe, the only time Booker prizes have ever been awarded to a novel and then its sequel.
Not only had I missed the book(s), but at first, when I saw the trailers on PBS for the film version, I wasn’t all that intrigued. Downton Abbey had just finished its last episode of the season and it was hard to imagine anything equaling that. So, a mini-series based on Henry VIII and his wretched excesses, told from the point of view of Thomas Cromwell, one of the king’s, ah, shall we say, less fastidious enablers… Ho, hum. I’ve read my history; I’ve seen A Man for All Seasons; been there, done that. But a Close Relative By Marriage insisted we watch, and after the first ten minutes you could have set fire to my chair and I wouldn’t have left. That’s how good the production was, and Mark Rylance, the British actor who stars as Thomas Cromwell, gave one of the most compelling performances I have ever seen: quiet, understated, absolutely convincing, and absolutely electrifying. So consider this also a rave review for the PBS series.
(By the way, for those of you interested in historical tidbits: any great English house with “abbey” as part of its name, as in Downton Abbey, is so named because when Henry VIII, aided by Thomas Cromwell, took the great monasteries from the Pope, he awarded some of those lands to favored courtiers who retained the appellation “abbey.”)
After the second episode I galloped to my desk and ordered copies of both Wolf Hall and Bring Up the Bodies for myself and just everybody I know, and as soon as they arrived, I dove in. Now I know why Hilary Mantel won the Man-Booker twice. She deserves it.
In case you’re even more of a troglodyte than I and you’ve never heard of Hilary Mantel or Wolf Hall and Bring Up the Bodies, yes, it’s Henry VIII and all his unfortunate wives and all those men and women who circled around the king and his court like flies around a corpse, but… But how much do you actually know about Thomas Cromwell? Ah. That’s the point. That’s part of Hilary Mantel’s genius: she has taken a famous and influential man about whom little is known and gone to town with him.
Thomas Cromwell is one of those mysterious figures in history who beggar the imagination. Acknowledged as arguably the single most influential minister (that’s minister in the political sense, not ecclesiastical) in all of English history, he seems to have sprung fully evolved out of his own imagining and will power. Even the authoritative Encyclopedia Britannica describes his origins and early life as “obscure.” Probably (no one knows for certain) born around 1485; probably (no one knows for certain) born in Putney, at that time a decidedly seedy suburb of London; probably (no one know for certain) born to a man who may have been named Cromwell, but who may have been named Smyth who was probably (no one knows for certain) a blacksmith, but who might have been a brewer or a cloth merchant or all of the above; Thomas Cromwell probably (no one knows for certain) and improbably somehow ended up in Italy early in his life; he probably (no one knows for certain) lived in the Low Countries (think Flanders, Holland, Belgium); and he was probably (no one knows for certain) somehow associated with the London Merchant Adventurers. His early history contains the qualifying words “seems,” “appears,” “might have,” and “probably” almost more than any others.
And yet, somehow, out of these inauspicious beginnings, Thomas Cromwell suddenly burst into history in 1520 as a solicitor (that’s “lawyer” to we simple-minded Americans) to the great and immensely powerful Cardinal Wolsey. How did a man from such meager beginnings in such a rigidly stratified society manage to catapult himself into the halls of power and the pages of history?
I stumbled across an interview on the internet with Hilary Mantel, and that question is pretty much what compelled her to start her journey. So that’s half the genius.
The other half is Mantel’s writing.
To quote Rudyard Kipling:
“There are nine and sixty ways of constructing tribal lays,
And every single one of them is right.”
Doubtless very true, and who am I to question as great a writer as Rudyard Kipling? But some methods of construction are righter than others, and Hilary Mantel’s writing is breathtaking.
Of all the varied ways of constructing tribal lays, the one that appeals most to me is the kind where a master artist plays with his or her materials. Think Shakespeare. Think Faulkner. Think Cormac McCarthy. Think Hilary Mantel. The English language, so rich and varied, so ripe with multiple subtle meanings, lends itself to a kind of imaginative playfulness, verbal pyrotechnics, if you like, that amaze and delight. She writes in the present tense, third person singular, which lends an urgency to her tale, but she jumps back and forth in time, sometimes in a sentence, sometimes in a paragraph, sometimes in a section, using the mnemonic device of Cromwell’s memories to give us information about him and his past. But it is the oblique grace with which she tells her story that is so delightful. I will give you one example.
Bring Up the Bodies, the second volume of what will eventually become Mantel’s trilogy, opens with Thomas Cromwell and Henry VIII out hawking. In Wolf Hall, Cromwell’s daughters have died, but he cannot allow himself the luxury of grief. He lives to serve the king, and as a minister to the king he cannot indulge in such distracting luxuries as grief or rage or love or hate. Whatever he might feel or want must be subsumed in service to the throne. So in “Falcons,” the opening chapter of Bring Up the Bodies, Cromwell and Henry are sitting their horses and watching their falcons, and a lesser, more pedestrian, writer might have opened the book with a paragraph such as:
“Cromwell watches his falcons plunging after their prey. He has named the birds after his daughters, and as he and the king watch from horseback, this one, Grace, takes her prey in silence, returning to his fist with only a slight rustling of feathers and a blood-streaked breast…”
And so on.
Now, consider this, Señorita; consider how Hilary Mantel handles the opening.
“His children are falling from the sky. He watches from horseback, acres of England stretching behind him; they drop, gilt-winged, each with a blood-filled gaze. Grace Cromwell hovers in thin air. She is silent when she takes her prey, silent as she glides to his fist. But the sounds she makes then, the rustle of feathers and the creak, the sigh and riffle of pinion, the small cluck-cluck from her throat, these are sounds of recognition, intimate, daughterly, almost disapproving. Her breast is gore-streaked and flesh clings to her claws.”
If you don’t like that, you don’t like chocolate cake.

This is a brilliant, stylistic historical novel. Thomas Cromwell is one of the most interesting men in history, and Mantel makes the most of this. Cromwell's wit, his intensity, his striving, his motivations are all compellingly conveyed. It is very hard to put this book down. My favorite device of Mantel's is the use of "He" almost always refers to Cromwell. It makes the flow better and makes us feel like we are in on it. This is a must read for anyone who loves great story-telling and English history. I put off reading it for a while because it was so popular, but it is really good and well worth it.

Wolf Hall focuses on the early career of Thomas Cromwell who was to become of one Henry VIII's top officials. Mantel takes great care in creating a plausible and likable character. This is important because as you go on to the second book Bring up the Bodies, Thomas Cromwell is also revealed as efficient hatchet man for Henry VIII.

The book is rich in historical details about how people lived, their houses, their social relationships etc. I found this very interesting. As Cromwell prospered, his household expanded but not necessarily with servants but with young men he was training or people he was taking care of.

I found this book on a list of "If you enjoy House of Cards, then try..." This book can appeal to literature snobs, political junkies, and people who enjoy the parts of Game of a Thrones that don't involve magical dragons. Don't give up if you're put off by the second person present tense that creeps up from time to time---this book puts readers in the room at the most shocking turning points in history.

Really makes the history and people come alive.


The author adopts an annoying quirk of writing "he" to mean Cromwell rather than, as English calls for, an antecedent. You get sentences such as "On the night before Fisher's execution, he visits More". Two paragraphs later, you find yourself jumping back to re-read once you puzzle out that the author meant *Cromwell*, not Fisher, visited More. In a book with six dozen characters, most of whom share the name Thomas, Henry, Mary or Anne, I ended up skipping the occasional passage because I couldn't be bothered to figure out which person it referred to.

I guess it's a testament to the story and the telling that I recommend the book despite this jarring, avoidable flaw.

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