Hilary Mantel’s Wolf Hall was a high-cultural phenomenon. The novel, published in 2009, retold the story of the downfall of Sir (Saint) Thomas More and the rise of Thomas Cromwell: A Man for All Seasons, but with the good guy and bad guy reversed. In Mantel’s telling, More was a religious fanatic, an embodiment of the deliberate, persecuting medieval darkness, while Cromwell was the new man, an omni-talented, self-made son of a blacksmith whose virtues were above all else moderation and practicality. Written with a brilliant combination of arresting detail and swift movement, the novel won the Man Booker Prize (the “British Pulitzer”), as did its 2012 sequel Bring Up the Bodies. Then — nothing. The third book in what was announced as a trilogy was supposed to come out in 2018. Then, 2017 brought rumors of delay . . . 2018 . . . 2019 . . . The literati thought they knew why. While the Wolf Hall novels are fiction, their characters are, of course, historical figures. And Thomas Cromwell, after triumphing over More and Anne Boleyn, overseeing the dissolution of the monasteries, procuring Henry VIII’s marriages to his third and fourth wives, and significantly advancing the cause of Protestantism in England, was executed by orders of that monarch on July 28, 1540. If Mantel finished her trilogy, in other words, she was going to have to kill her hero.
Now the third book, The Mirror and the Light, is here. Read page by page — that is to say, taking the measure of the book by the quality of the prose — it is another masterpiece, a worthy successor to its forebears. There are some reasons, however, to think that the rumors were right — that the death of Cromwell presented a challenge for Mantel. Of the novel’s 754 pages, there is not a hint of trouble for Cromwell until around the 600th, and the crisis leading to his death does not break until about the 700th. This would not be a problem were there some other narrative arc Mantel was intent on tracing. But there isn’t, really.
The Mirror and the Light, unlike Wolf Hall and Bring Up the Bodies, does not have a central conflict. In Wolf Hall, the clash with More and the struggle to secure Henry’s divorce and remarriage gave a narrative coherence to the work. In Bring Up the Bodies, Cromwell squared off in a zero-sum contest — death or absolute power — with Anne Boleyn. The Mirror and the Light begins where Bring Up the Bodies left off, just after the execution of Boleyn and her supposed lovers. Henry VIII, now a widower, is free to marry Jane Seymour, and does. Cromwell, having brought this state of affairs to pass, is master secretary (and soon lord privy seal), in fact if not in title the most powerful man in England.
read more here @ National Review
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