WEBVTT - The Crécy Campaign (with Dan Jones)

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<v Speaker 1>Welcome to Noble Blood, a production of I Heart Radio

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<v Speaker 1>and Grim and Mild from Aaron Manky. Listener discretion advised.

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<v Speaker 1>I'm very excited to be joined for this very special

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<v Speaker 1>episode by my friend, amazing historian Dan Jones, who's joining

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<v Speaker 1>us via via seamless internet technology from across the pond

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<v Speaker 1>in England. Damn, thank you for joining me. It's absolutely

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<v Speaker 1>my pleasure. We like was so good at technology that

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<v Speaker 1>this was set up. We didn't was the easiest thing.

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<v Speaker 1>We knew how to do. Our headphones, our microphones. Both

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<v Speaker 1>of us just nailed it immediately first try. I definitely

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<v Speaker 1>had the microphone thing lockdown? Did you my end? Contrary

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<v Speaker 1>to what people are saying, my microphone was on the

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<v Speaker 1>entire time. It was fully, fully turned on. That wasn't

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<v Speaker 1>the mistake I was making. You were brought back on

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<v Speaker 1>this podcast by popular demand, that the people demanded you,

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<v Speaker 1>and so we had to bring you back. But you

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<v Speaker 1>were the Charles the second of podcast guests. Thank you

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<v Speaker 1>very much. That's probably my favorite Charles of all the three.

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<v Speaker 1>Of all the three. So I was I was asking

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<v Speaker 1>you before we started, how how is the new king

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<v Speaker 1>over there? Well? I think that you guys are thinking

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<v Speaker 1>about it a little bit more than we are. We

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<v Speaker 1>we did, we had quite a lot of it last year,

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<v Speaker 1>and now we're just The coronation will be along in

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<v Speaker 1>a few months time, and I think we'll have another

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<v Speaker 1>that'll go at it then. But by and large, no

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<v Speaker 1>one's playing it that much attention. I think. I think

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<v Speaker 1>of the two of us, I am the only one

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<v Speaker 1>who read Prince Harry's book. Is that true? That is true,

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<v Speaker 1>assuming you did read it. I didn't read it. I

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<v Speaker 1>have no reason to doubt you. And it's the sort

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<v Speaker 1>of thing you would do that like professionally or actually curious.

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<v Speaker 1>They sent me a copy, so this is full disclosure.

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<v Speaker 1>As I got a copy for free, I don't know

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<v Speaker 1>if I would have like shelled out for it. And

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<v Speaker 1>then I was just curious as a document. I was

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<v Speaker 1>just like, so, what is this guy really saying? Did

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<v Speaker 1>you find out? By the end of the book. Yes,

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<v Speaker 1>I think he's past off, isn't it. He's really mad

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<v Speaker 1>and I think he had a very sad family life.

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<v Speaker 1>I felt bad for him by the end of it.

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<v Speaker 1>I was like, it must have been really lonely. Your

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<v Speaker 1>dad never hugging you like that would have been awful,

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<v Speaker 1>But I do kind of think he's mad about the

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<v Speaker 1>wrong things a little bit, like he's holding these family

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<v Speaker 1>grudges and I feel sorry for him, but it also

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<v Speaker 1>feels like, I don't know if he realizes it's not

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<v Speaker 1>that's not like the main problem with the monarchy. Yeah,

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<v Speaker 1>it does seem to be quite um. He does seem

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<v Speaker 1>to have misconstrued and misconceived quite a lot of things

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<v Speaker 1>that you would have thought like by the time you

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<v Speaker 1>get to around the age of forty. He's a little

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<v Speaker 1>bit younger than me, but you know, by the age

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<v Speaker 1>of forty ish, you're supposed to have just started to

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<v Speaker 1>work out certain things about your life situation. And he

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<v Speaker 1>seems to have got some of them wrong, and the

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<v Speaker 1>ones that he hasn't got wrong, he's reacted to in

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<v Speaker 1>a really bad way. It does seem as though he's

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<v Speaker 1>the only one in this family who's gotten therapy, and

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<v Speaker 1>so clearly a therapist is like it would have been

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<v Speaker 1>nice if your dad hugged you, and then he's like yes,

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<v Speaker 1>and then really decided to write a book about it.

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<v Speaker 1>But was this a specialist therapist? Because I think it's

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<v Speaker 1>like a certain you need a special like one that

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<v Speaker 1>just does royals really like, basically you I could do it.

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<v Speaker 1>You seem you seem like you should be in the

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<v Speaker 1>person that would do therapy, because you'd probably think about

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<v Speaker 1>this more than than a normal therapist. It's true of

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<v Speaker 1>the category of case. Do you know the most deranged

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<v Speaker 1>thing that I've ever said out loud in my life

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<v Speaker 1>to my husband? I said, I said the words, and

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<v Speaker 1>I meant it is there's the really messed up part.

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<v Speaker 1>I said, if I had married into the royal family,

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<v Speaker 1>I would have been able to hack it. Like I

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<v Speaker 1>would have been able to do it. I can follow

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<v Speaker 1>rules really well. I would wear that right now, polished colors.

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<v Speaker 1>I wouldn't read the news. I would just like curtsy

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<v Speaker 1>the right way. I would follow all the rules. But

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<v Speaker 1>you've also done your research, like this is what I'm saying.

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<v Speaker 1>I don't. I would have known when I was getting

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<v Speaker 1>into I think, so do you? What do you wanted

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<v Speaker 1>to do it? I mean absolutely think yourskin seems great,

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<v Speaker 1>and like I'm not sure you harry a fit or whatever,

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<v Speaker 1>But like, would you in in the abstract have wanted

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<v Speaker 1>that job at any level? No, it's to me that

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<v Speaker 1>the job of being a royal. It seems like you

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<v Speaker 1>are quietly drinking all day with people I don't know

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<v Speaker 1>if I would like, I'm not a big drinker. And

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<v Speaker 1>also you have to go to a lot of like

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<v Speaker 1>ceremonial hospital openings. It feels like you're going to like

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<v Speaker 1>three graduation ceremonies a day, and your kid is never graduating. Right,

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<v Speaker 1>the job seems boring. I totally agree, And yet there

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<v Speaker 1>is a small, like distinct subset category of people who well,

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<v Speaker 1>there's two on there. There's there's the people who are

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<v Speaker 1>born into it and like totally deal with it, Like, yeah, okay,

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<v Speaker 1>this is like a like I could have definitely been

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<v Speaker 1>born into a much worse era in history or social position.

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<v Speaker 1>I'm going to just accept that the cost of having

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<v Speaker 1>all this great stuff is like a super boring job,

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<v Speaker 1>even more boring than like being a square john in

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<v Speaker 1>an office. Yeah, at least a square john in an office.

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<v Speaker 1>You get to go have your fun without people making

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<v Speaker 1>fun of you. Well yeah, so, but there was more

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<v Speaker 1>of a royals who are like, yo, I'm going to

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<v Speaker 1>take this. I'll take this deal. It's not a perfect deal,

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<v Speaker 1>but I sense there are other worst deals and the

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<v Speaker 1>possible so that I can sort of sort of get

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<v Speaker 1>my head of. The ones that definitely are unusual are

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<v Speaker 1>the sort of K. Middlesen type people who look at

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<v Speaker 1>that and think it through, so they do the thing

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<v Speaker 1>you've done that possibly making didn't do, and then go,

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<v Speaker 1>oh no, no, that is actually what I want. That's

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<v Speaker 1>the weird thing, and then doesn't seem to have any

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<v Speaker 1>regret or or remorse, like, was right, that was what

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<v Speaker 1>you want. She's very good at at what she has

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<v Speaker 1>to do, which is being conventionally attractive and thin and

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<v Speaker 1>wear clothing in public. Would you go to Mars if

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<v Speaker 1>someone offered your ticket? Absolutely not. Now wants I want

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<v Speaker 1>somebody and I don't care if his evil musk. I

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<v Speaker 1>just I don't care who it is. I want a

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<v Speaker 1>human being to go to Mars. But if you ask me,

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<v Speaker 1>would I be that? Yeah? But would you do that?

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<v Speaker 1>I would say no. I would say I would be

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<v Speaker 1>like the person to go to Mars. Yeah, Okay, after

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<v Speaker 1>they do it for a while, I wonder is it

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<v Speaker 1>the safety that you're worried about with Mars? Yeah? And

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<v Speaker 1>it just seems, um, I don't know what I would

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<v Speaker 1>be getting out of it. Yeah, the safety and and

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<v Speaker 1>for what reward. I'm not a rock scientist. I don't

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<v Speaker 1>know if I would be the best person to put there.

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<v Speaker 1>I could see you as a rock scientist, that you've

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<v Speaker 1>got science in your locker, haven't you? That's true? Could

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<v Speaker 1>would you wouldn't go to Mars? Why wouldn't you go

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<v Speaker 1>to Mars? The safety so that I saw the Martian

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<v Speaker 1>with mc damon and growing potatoes that tie us into Yeah,

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<v Speaker 1>it looked It's just just just the length of the journey.

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<v Speaker 1>You know, I'm a little I don't think it would

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<v Speaker 1>be for me the length of the journey, you know, Dan,

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<v Speaker 1>But people, I think a lot of people would say

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<v Speaker 1>that being a historian would be boring. You've had to

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<v Speaker 1>spend a lot of time reading very old books. You

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<v Speaker 1>don't find you don't find that barring. No, I don't.

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<v Speaker 1>Actually I quite like it. Yeah, but I don't know

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<v Speaker 1>a lot of m Are there a lot of people

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<v Speaker 1>who looked at his story and when I think that's

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<v Speaker 1>going to be boring? Because I think the case that

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<v Speaker 1>we've been talking about is people who think something is

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<v Speaker 1>going to be better than it is. I was pretty

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<v Speaker 1>sure about what being his stor you didn't think it

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<v Speaker 1>was going to be like Indiana Jones. Now that's an archeologist,

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<v Speaker 1>but he's sort of in the same it's the same academic.

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<v Speaker 1>He's a professor. Oh, he's a he's a professor. That

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<v Speaker 1>but that I wouldn't have done. I'm not a professor.

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<v Speaker 1>I could never ever have been a professor. And that's

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<v Speaker 1>actually important. So when I graduated from my degree in

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<v Speaker 1>two two, I was going he went to Cambridge. He's

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<v Speaker 1>not going to mention, but he went to Cambridge. You know,

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<v Speaker 1>I don't. I like other people to bring it up

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<v Speaker 1>for me. And it's the real one as well, not

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<v Speaker 1>there like proxy one in Massachusetts. When I graduated and

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<v Speaker 1>I was thinking, only should I do like loads to

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<v Speaker 1>more degrees and stay at Cambridge? Sort of everyone that

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<v Speaker 1>had taught me and knew me was like, I don't

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<v Speaker 1>think you'll like that. I don't think you're like any

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<v Speaker 1>aspect of that's whatsoever. And so the life that I've

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<v Speaker 1>chosen is distinctly not that of an institutionalized profess. So

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<v Speaker 1>it's the life where I just sort of do my

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<v Speaker 1>own thing and read what I want to read, and

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<v Speaker 1>write what I want to write, and sit in my

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<v Speaker 1>little office in my pajamas. Now, this is an audio medium,

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<v Speaker 1>but I do want people listening to this to know

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<v Speaker 1>that Dan is in a very nice set of pajamas,

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<v Speaker 1>sole set of pajamas, like he's in like notting Hill

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<v Speaker 1>or something. I've never seen anyone in like a full

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<v Speaker 1>set of pajamas. And it's not that late that we're recording,

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<v Speaker 1>but he got ready for bed. Yeah, but I knew

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<v Speaker 1>that after we finished it would be about my bed time.

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<v Speaker 1>And then I just thought I'd just be ready. I

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<v Speaker 1>could just die straight into bed and just worm my

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<v Speaker 1>way and I have a little you know sleep. Well,

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<v Speaker 1>if we're talking about diving straight in, you're here because

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<v Speaker 1>you have a novel that's coming out in the United

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<v Speaker 1>States in paperback? Is it coming out in paperback or

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<v Speaker 1>hard hard back? Over here? Hardcover hardcover of course, yes,

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<v Speaker 1>the real deal. I think we'd go hard yeah, hardcover, Yeah,

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<v Speaker 1>hardcover of people that's right here, Yeah, yeah, that's us.

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<v Speaker 1>Oh my gosh. And he's drinking wine. He just pulled

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<v Speaker 1>a goblet of wine out from behind the behind the camera.

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<v Speaker 1>It's almost it is. It's quite a large one glass,

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<v Speaker 1>but with not much wine in it. So yeah, it

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<v Speaker 1>does have a sort of goblet vibe to it's Monday night.

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<v Speaker 1>I would not drink heavily on a Monday night. Of course.

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<v Speaker 1>Well we are here to talk, of course, about his

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<v Speaker 1>wonderful novel Essex Dogs, which I had the privilege of reading.

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<v Speaker 1>It's just a it's a wonderful novel. If you like

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<v Speaker 1>this podcast because you like interesting stories from history well told.

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<v Speaker 1>Obviously A Sex Dogs is a fictionalization, but it is

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<v Speaker 1>based on a very true story. And that's what I

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<v Speaker 1>would like to talk to you about. Oh, that would

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<v Speaker 1>be fun. Let's do it. So tell me the story.

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<v Speaker 1>And my achilles heel is French pronunciation because my Eastern

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<v Speaker 1>European tongue doesn't curl the right way. But the say

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<v Speaker 1>the name of the campaign to save me from myself here,

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<v Speaker 1>so as it's still is set in the Cressy campaign.

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<v Speaker 1>Oh Cressy, that's I could have done that. You can say,

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<v Speaker 1>reci Yeah, there's a little there's an accent that throughout

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<v Speaker 1>the house made me near Chrissy. But but Cressy is fine. Um.

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<v Speaker 1>So that's one of the first major campaigns of the

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<v Speaker 1>Hundred Years War, which took place in the summer of

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<v Speaker 1>the year thirty and forty six, which is right at

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<v Speaker 1>the start of the Hundred Years War. With Hundred Years

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<v Speaker 1>War from thirty thirty seven through fifty three were loaded

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<v Speaker 1>at the beginning with the Third Reign. I'm gonna I'm

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<v Speaker 1>gonna interrupt before before we dive in for people who

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<v Speaker 1>are just listening and and have heard probably the term

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<v Speaker 1>Hundred Years War, but don't know exactly what it is.

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<v Speaker 1>Can you set up a bit about what this conflict

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<v Speaker 1>was and why they were fighting it for so long? Yeah? Absolutely,

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<v Speaker 1>and that is very very cool. The Hundred Years War

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<v Speaker 1>is a dispute in the Late Middle Ages in the

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<v Speaker 1>fourteenth and fifteenth century between the two royal rival houses

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<v Speaker 1>of the Kingdoms of England on the one hand and

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<v Speaker 1>France on the other. And at the very core of

0:10:55.480 --> 0:10:58.880
<v Speaker 1>the dispute is who should be the King of France.

0:10:59.240 --> 0:11:02.560
<v Speaker 1>Starts with the with the third who claims that he

0:11:02.720 --> 0:11:04.959
<v Speaker 1>should be the rifle King of France because he has

0:11:05.000 --> 0:11:09.440
<v Speaker 1>a claim through his mother and his cousin Philippa, who

0:11:09.559 --> 0:11:12.280
<v Speaker 1>is the King of France. Philip six, at the outset

0:11:12.400 --> 0:11:14.839
<v Speaker 1>Hundreds War says, well, I beg to differ. I am

0:11:14.840 --> 0:11:17.200
<v Speaker 1>actually the King of France and I have a claim

0:11:17.280 --> 0:11:20.400
<v Speaker 1>through my father and my father the king of Brands.

0:11:21.120 --> 0:11:23.160
<v Speaker 1>It's rather wasn't the King of France. But so there's

0:11:22.960 --> 0:11:28.040
<v Speaker 1>a but he's he's got I think inarguably a better

0:11:28.120 --> 0:11:32.920
<v Speaker 1>claim than Edward. However, there are other reasons for them

0:11:32.920 --> 0:11:34.960
<v Speaker 1>disputing who's going to be the King of France, rather

0:11:35.000 --> 0:11:36.520
<v Speaker 1>than they both want to be the King of France.

0:11:36.600 --> 0:11:38.959
<v Speaker 1>One of them is that you have an anomalous, weird

0:11:39.040 --> 0:11:41.440
<v Speaker 1>position by the time he gets to the fourteenth century,

0:11:41.480 --> 0:11:43.800
<v Speaker 1>which goes all the way back to the normal conquest

0:11:43.960 --> 0:11:49.600
<v Speaker 1>of ten sixty six, whereby kings of England have lands

0:11:49.600 --> 0:11:52.920
<v Speaker 1>in France, and sometimes that's Normandy and it's great s

0:11:52.960 --> 0:11:57.000
<v Speaker 1>extent on the Henry. Second it's Normandy, Aquitaine and Gumain

0:11:57.400 --> 0:12:00.120
<v Speaker 1>Brittany each other an like this, the huge sway either

0:12:00.200 --> 0:12:02.960
<v Speaker 1>almost a third of the current territorial land mass of

0:12:03.000 --> 0:12:07.200
<v Speaker 1>France is at some point held by English kings technically

0:12:07.280 --> 0:12:10.760
<v Speaker 1>as nobles of France. And that's a weird situation and

0:12:11.000 --> 0:12:13.000
<v Speaker 1>changes and evolves throughout the plantation years. But by the

0:12:13.040 --> 0:12:14.760
<v Speaker 1>time you get to end of the third there's still

0:12:14.760 --> 0:12:18.439
<v Speaker 1>have a small amount of land Gascony, and the French

0:12:18.520 --> 0:12:21.120
<v Speaker 1>kings aren't very happy about that, sterrritating to have another

0:12:21.200 --> 0:12:27.120
<v Speaker 1>king as one of your lord's vassals Vassels. Yeah, so

0:12:27.440 --> 0:12:31.240
<v Speaker 1>part of the reason for for this dispute over the

0:12:31.240 --> 0:12:35.000
<v Speaker 1>crown of France is a kind of nuclear escalation of

0:12:35.040 --> 0:12:37.520
<v Speaker 1>this argument. End of the third sees that one of

0:12:37.559 --> 0:12:42.280
<v Speaker 1>the best ways to counter phillips claim to kick him

0:12:42.280 --> 0:12:43.800
<v Speaker 1>out of Gascony is to say, you can't kick me

0:12:43.840 --> 0:12:46.319
<v Speaker 1>out of Gascony because actually I'm the King of France.

0:12:46.600 --> 0:12:48.640
<v Speaker 1>And you know what, let's have a really long war

0:12:48.840 --> 0:12:50.400
<v Speaker 1>about whether or not this is the case, and it

0:12:50.400 --> 0:12:54.200
<v Speaker 1>goes generated a hundred years is underplaying. It just goes

0:12:54.240 --> 0:13:00.000
<v Speaker 1>on for six notes, not quite a hundred and sixty

0:13:00.080 --> 0:13:02.960
<v Speaker 1>hundred and seventeen something. Once one of my favorite tidbits,

0:13:03.400 --> 0:13:05.199
<v Speaker 1>I think from one of your books, the book on

0:13:05.440 --> 0:13:08.760
<v Speaker 1>the Ward the Roses, is when fast forwarding obviously you know,

0:13:08.800 --> 0:13:11.679
<v Speaker 1>a hundred years from this event, when I hope I'm

0:13:11.720 --> 0:13:14.320
<v Speaker 1>doing this right, because it is from your book. Henry

0:13:14.320 --> 0:13:17.960
<v Speaker 1>the sixth is trying to establish his claim in France

0:13:18.000 --> 0:13:21.560
<v Speaker 1>and they're distributing propaganda posters, trying to trace his lineage

0:13:21.600 --> 0:13:23.960
<v Speaker 1>back to St. Louis to be like, no, no, he's

0:13:24.040 --> 0:13:27.080
<v Speaker 1>he's right. Look at the poster that we made. They

0:13:27.080 --> 0:13:29.560
<v Speaker 1>get right into it and it opens up this enormous

0:13:29.600 --> 0:13:32.000
<v Speaker 1>kind of worms which which you then start seeing the

0:13:32.040 --> 0:13:35.160
<v Speaker 1>domestic politics of England and France as well of people say, oh,

0:13:35.280 --> 0:13:37.560
<v Speaker 1>no way, I should be the king because x y Z.

0:13:37.760 --> 0:13:39.679
<v Speaker 1>I mean, that's that's what underpins the wars of the

0:13:39.760 --> 0:13:43.400
<v Speaker 1>Roses in England the fifteenth century. Your Plancaster quote unquote

0:13:43.960 --> 0:13:46.880
<v Speaker 1>conflict for the crown is really some of the principles

0:13:46.960 --> 0:13:49.640
<v Speaker 1>established in the Hundred As War, which are like I've

0:13:49.679 --> 0:13:51.160
<v Speaker 1>not a better claim to the ground than you, and

0:13:51.200 --> 0:13:53.800
<v Speaker 1>I'm going to fight you with my now enormous armies

0:13:53.840 --> 0:13:58.199
<v Speaker 1>and improving siege weaponry and so on and so forth. Anyway,

0:13:58.200 --> 0:14:00.360
<v Speaker 1>said back to the Hundred Years War as well as

0:14:00.360 --> 0:14:03.560
<v Speaker 1>a dynastic dispute for the quote unquote dynastic dispute for

0:14:03.600 --> 0:14:06.120
<v Speaker 1>the crown of France, it's such a draw in more

0:14:06.160 --> 0:14:08.360
<v Speaker 1>and more and more competence around Europe. So you have

0:14:08.440 --> 0:14:12.120
<v Speaker 1>the Scots fighting the English, you have Castile drawn into

0:14:12.160 --> 0:14:15.200
<v Speaker 1>this eventually, have sort of kingdoms of Portugal drawn into it.

0:14:15.280 --> 0:14:18.040
<v Speaker 1>You have Flanders is an enormously important sort of theater

0:14:18.200 --> 0:14:20.800
<v Speaker 1>of hot and Cold War. You have the sort of

0:14:20.800 --> 0:14:23.560
<v Speaker 1>German states in the pressing campaign. You have the Battle

0:14:23.600 --> 0:14:26.240
<v Speaker 1>of Crescy, as we hopefully get to, you have five

0:14:26.280 --> 0:14:29.320
<v Speaker 1>different kings on the battle. So this, this apparent sort

0:14:29.360 --> 0:14:32.680
<v Speaker 1>of neighborly dispute between England and France, in fact spills

0:14:32.720 --> 0:14:35.400
<v Speaker 1>out into basically the whole of Western Europe fighting each

0:14:35.440 --> 0:14:40.320
<v Speaker 1>other in various combinations for generations. So now explain what

0:14:40.360 --> 0:14:43.600
<v Speaker 1>the Cressy campaign is. We have King Edward the Third

0:14:43.720 --> 0:14:47.560
<v Speaker 1>in England trying to retain his claim in France, and

0:14:47.600 --> 0:14:52.280
<v Speaker 1>what happens. So at this point, which is thirty six,

0:14:52.320 --> 0:14:55.120
<v Speaker 1>the war is young. War is less than nine less

0:14:55.120 --> 0:15:00.320
<v Speaker 1>and ten years old, and there have been already different

0:15:00.320 --> 0:15:02.840
<v Speaker 1>spheres of operation open up. There's fighting going on down

0:15:02.880 --> 0:15:06.040
<v Speaker 1>a gascony. There's been a great sea Battle of Choice there,

0:15:06.080 --> 0:15:09.080
<v Speaker 1>which is sort of a modern Netherlands. But this is

0:15:09.120 --> 0:15:12.480
<v Speaker 1>the first big invasion by one side of the other.

0:15:12.800 --> 0:15:18.960
<v Speaker 1>So in July six d of the Third Lands approximately

0:15:19.040 --> 0:15:23.080
<v Speaker 1>fifteen thousand troops on one of the Normandy beaches. And

0:15:23.120 --> 0:15:26.320
<v Speaker 1>whant to say Normandy beaches You probably think D Day

0:15:26.560 --> 0:15:28.480
<v Speaker 1>World War two, and you're right to, because it is

0:15:29.040 --> 0:15:32.880
<v Speaker 1>a beach on the cutting Tampa Peninsula of Normandy slightly

0:15:32.960 --> 0:15:35.160
<v Speaker 1>up from what in the Second Worldar was called Utah

0:15:35.160 --> 0:15:38.800
<v Speaker 1>Beach should a place called some Valo where Edwards put

0:15:38.840 --> 0:15:41.600
<v Speaker 1>fifteen thousand men onto a beach, and you can sort

0:15:41.600 --> 0:15:44.680
<v Speaker 1>of imagine this as a medieval saving Private Ryan. In fact,

0:15:44.680 --> 0:15:47.640
<v Speaker 1>the idea of a medieval saving Private Ryan, you know,

0:15:47.720 --> 0:15:50.320
<v Speaker 1>medieval d Day was the first picture I had in

0:15:50.360 --> 0:15:54.120
<v Speaker 1>my head the sparks what became the novel of Esex Dogs,

0:15:54.200 --> 0:15:57.800
<v Speaker 1>because I felt like I'd never seen a kind of

0:15:58.160 --> 0:16:01.520
<v Speaker 1>band of brothers saving Private Ryan, an American hard boiled

0:16:01.640 --> 0:16:04.520
<v Speaker 1>version of a medieval amphibious invasion. But that's how the

0:16:04.520 --> 0:16:07.040
<v Speaker 1>Cressy campaign starts. Edward the third says, you know what

0:16:07.120 --> 0:16:10.200
<v Speaker 1>I'm after, France, and I'm gonna well, that is he

0:16:10.240 --> 0:16:12.880
<v Speaker 1>actually going to try and take Philip's throne in Paris.

0:16:12.920 --> 0:16:15.480
<v Speaker 1>Possibly He's certainly going to cause as much trouble for

0:16:15.520 --> 0:16:18.360
<v Speaker 1>Philip the sixth of France as possible in northern France

0:16:18.400 --> 0:16:20.760
<v Speaker 1>in order to discomfort him so much that possibly his

0:16:20.800 --> 0:16:23.040
<v Speaker 1>nobles are rebelled against him and the people will start

0:16:23.040 --> 0:16:25.680
<v Speaker 1>to abandon their their fealty to him. So that's what Edwards,

0:16:25.800 --> 0:16:30.240
<v Speaker 1>Edward sets about twelfth of July, he lands his huge army,

0:16:30.560 --> 0:16:32.680
<v Speaker 1>probably over the course of the next few days. They

0:16:33.200 --> 0:16:36.160
<v Speaker 1>DeCamp onto the beach. They are opposed by local militias,

0:16:36.200 --> 0:16:38.840
<v Speaker 1>but the local militias who are opposing them soon see

0:16:38.880 --> 0:16:42.320
<v Speaker 1>that this is an enormous, enormous army, I mean a

0:16:42.480 --> 0:16:45.960
<v Speaker 1>gigantic invasion army. This is the biggest army that has

0:16:46.000 --> 0:16:49.800
<v Speaker 1>ever been taken from England to France, and they're going

0:16:49.840 --> 0:16:53.280
<v Speaker 1>to do some some serious damage. So they would say

0:16:53.600 --> 0:16:55.880
<v Speaker 1>the small militia who were on the coast, because Edwards

0:16:56.000 --> 0:16:58.440
<v Speaker 1>kept his invasion plans or the location of his invasion

0:16:58.440 --> 0:17:01.320
<v Speaker 1>at least secret spies of in in London for months

0:17:01.360 --> 0:17:03.120
<v Speaker 1>and months, they knew an invasion was coming, but they

0:17:03.160 --> 0:17:05.600
<v Speaker 1>had no idea where that parallels with d Day in

0:17:06.920 --> 0:17:10.479
<v Speaker 1>are striking um, there's there's not much opposition and they

0:17:10.480 --> 0:17:12.600
<v Speaker 1>start falling back and so Edward really has them the

0:17:12.720 --> 0:17:15.720
<v Speaker 1>run of the Gotta Tupe Peninsula, this bit of Normandy

0:17:15.800 --> 0:17:19.680
<v Speaker 1>that sticks out going up to subar So between Normandy

0:17:19.720 --> 0:17:24.879
<v Speaker 1>and Calais. So it's hard without drawing you a map,

0:17:24.960 --> 0:17:27.360
<v Speaker 1>but there's a sort of pointy bit that's not Brittany

0:17:27.600 --> 0:17:31.080
<v Speaker 1>Franz that's the bit of Normandy we're talking about. So

0:17:31.359 --> 0:17:32.760
<v Speaker 1>and they come in right at the tip of it.

0:17:33.480 --> 0:17:37.080
<v Speaker 1>And the French strategy for the first couple of weeks

0:17:37.200 --> 0:17:40.040
<v Speaker 1>is essentially a Fabian one. Is to fall back, try

0:17:40.080 --> 0:17:42.879
<v Speaker 1>and delay the English advances as much as possible by

0:17:42.880 --> 0:17:48.200
<v Speaker 1>breaking bridges, by burning things, by but not by engaging.

0:17:48.760 --> 0:17:51.960
<v Speaker 1>And so the English do what will become a standard

0:17:52.000 --> 0:17:54.520
<v Speaker 1>tactic of the Hundred Years War, and they sort of

0:17:54.560 --> 0:17:56.920
<v Speaker 1>launched it in Earnest in thirteen forty six, and it's

0:17:56.960 --> 0:17:59.840
<v Speaker 1>called the Cheval shape. So they set their army out

0:18:00.720 --> 0:18:04.159
<v Speaker 1>essentially into the field to just burn and plunder and

0:18:04.359 --> 0:18:07.159
<v Speaker 1>cause as much terror and mayhem as possible. It is

0:18:07.200 --> 0:18:11.080
<v Speaker 1>to carve a path through the landscape, a path of terror.

0:18:11.359 --> 0:18:15.280
<v Speaker 1>Now I wrote Essex Dogs. When I finished writing, I

0:18:15.359 --> 0:18:20.119
<v Speaker 1>finished writing it's through March, shortly before the Russian invasion

0:18:20.119 --> 0:18:21.960
<v Speaker 1>of Ukraine. But if you can cast your mind back

0:18:21.960 --> 0:18:24.320
<v Speaker 1>to Russian tactics at the beginning of the war in Ukraine,

0:18:24.359 --> 0:18:27.080
<v Speaker 1>which was to burn and plunder and rape and kill

0:18:27.200 --> 0:18:30.320
<v Speaker 1>and cause as much mayhem and terror as possible. That's

0:18:30.440 --> 0:18:33.840
<v Speaker 1>borrowed directly from a long military playbook. And of the

0:18:33.880 --> 0:18:36.840
<v Speaker 1>third did not invent the chevrochet. The Mongols have done

0:18:36.840 --> 0:18:38.720
<v Speaker 1>it before. I'm sure you know in the Bronze Agent

0:18:38.800 --> 0:18:40.520
<v Speaker 1>has happened. You know, we can go back probably as

0:18:40.520 --> 0:18:43.000
<v Speaker 1>far as human history and mounted warriors anyway, go to

0:18:43.400 --> 0:18:46.840
<v Speaker 1>see examples of similar tactics. It wo, but this is

0:18:46.960 --> 0:18:51.679
<v Speaker 1>like Edward really master the English master the chevrochet in war.

0:18:51.760 --> 0:18:54.919
<v Speaker 1>And so the first sort of or probably half of

0:18:54.920 --> 0:18:59.200
<v Speaker 1>the Gressive campaign is effectively one big, long, just campaign

0:18:59.240 --> 0:19:02.760
<v Speaker 1>of absolute terror, as the English pushed through the Norman

0:19:02.800 --> 0:19:05.600
<v Speaker 1>countryside through the sort of kas and all the stuff.

0:19:05.640 --> 0:19:08.240
<v Speaker 1>You again, if you know you're saving private Ryan or

0:19:08.280 --> 0:19:10.640
<v Speaker 1>band of brothers, you know these little lanes and head

0:19:11.119 --> 0:19:15.439
<v Speaker 1>English just burn a sway through it, heading for the

0:19:15.600 --> 0:19:19.040
<v Speaker 1>major towns of Normandy, which will lead them to the

0:19:19.080 --> 0:19:21.400
<v Speaker 1>same valley, and then they can go up river towards Paris.

0:19:22.280 --> 0:19:25.960
<v Speaker 1>And so in your fictional version, we're joined by ten

0:19:26.160 --> 0:19:29.440
<v Speaker 1>men in Essex, Doug. The story is ten men who

0:19:29.480 --> 0:19:33.480
<v Speaker 1>are sort of more loyal to each other than any crown. Right.

0:19:33.560 --> 0:19:37.080
<v Speaker 1>So this story of the Christic campaign has been told

0:19:37.680 --> 0:19:41.120
<v Speaker 1>in history and in fiction many times, but it struck

0:19:41.200 --> 0:19:44.120
<v Speaker 1>me when I was thinking about it, or thinking more

0:19:44.160 --> 0:19:47.800
<v Speaker 1>generally about the realities of warfare in this period, which

0:19:47.840 --> 0:19:50.080
<v Speaker 1>is something I've written a reasonable amount about in my

0:19:50.200 --> 0:19:54.800
<v Speaker 1>history books. Struck me that we very seldom see medieval

0:19:54.840 --> 0:19:57.400
<v Speaker 1>warfare through the eyes of what in the World War

0:19:57.440 --> 0:20:00.359
<v Speaker 1>two film you'd call the ordinary grunts, right, just the

0:20:00.480 --> 0:20:04.280
<v Speaker 1>rank and file. The Chrissy Campaign is really famous in

0:20:04.480 --> 0:20:08.400
<v Speaker 1>medieval history for things that aristocrats and nobles do. There's

0:20:08.480 --> 0:20:10.280
<v Speaker 1>there are lots of little famous sort of vignettes to

0:20:10.320 --> 0:20:13.120
<v Speaker 1>set pieces. When end of the Third land on the

0:20:13.160 --> 0:20:16.040
<v Speaker 1>beach of sam Lug, for example, he he trips over

0:20:16.080 --> 0:20:18.200
<v Speaker 1>in the surf, bangs his nose into the sand and

0:20:18.240 --> 0:20:20.280
<v Speaker 1>gets a nose bleed, and he has the quick wit

0:20:20.359 --> 0:20:22.280
<v Speaker 1>to say, ah, this just shows the land wants me

0:20:22.320 --> 0:20:24.320
<v Speaker 1>because I was worried this might be you know moment.

0:20:24.920 --> 0:20:27.320
<v Speaker 1>When we get to later in the campaign, at the

0:20:27.359 --> 0:20:31.280
<v Speaker 1>Battle of Chrissy, the Black Prince supposedly performs great heroics.

0:20:31.320 --> 0:20:33.880
<v Speaker 1>He's in danger. His father refuses to come to his aid,

0:20:33.960 --> 0:20:37.159
<v Speaker 1>so the story goes, this hasn't led him win his spurs,

0:20:37.200 --> 0:20:39.080
<v Speaker 1>and this is you know, at sixteen years old, this

0:20:39.160 --> 0:20:42.360
<v Speaker 1>is the Black Prince kind of magnificent emergence as a

0:20:42.440 --> 0:20:45.360
<v Speaker 1>chivalric warrior, anyway, Chris, he throws up lots of these

0:20:45.440 --> 0:20:49.800
<v Speaker 1>vignettes through the writings of chronicles like Jean Froissart and

0:20:50.560 --> 0:20:53.640
<v Speaker 1>various others of that type, but we don't often hear

0:20:53.720 --> 0:20:55.800
<v Speaker 1>anything at all in this campaign about what it was

0:20:55.840 --> 0:20:57.760
<v Speaker 1>like for ordinary people. Now, if we consider that in

0:20:57.800 --> 0:21:01.520
<v Speaker 1>a medieval army of about fifteen thousand, somewhere between ten

0:21:01.560 --> 0:21:05.159
<v Speaker 1>and would be what would call nobles and knights, that

0:21:05.280 --> 0:21:07.560
<v Speaker 1>still that leads the vast majority of the army as

0:21:07.680 --> 0:21:10.120
<v Speaker 1>not nobles and knights. And what I wanted to do

0:21:10.560 --> 0:21:14.040
<v Speaker 1>was somehow or other capture the experience of one small

0:21:14.200 --> 0:21:18.000
<v Speaker 1>group of warriors on this campaign who were ordinary people.

0:21:18.080 --> 0:21:21.240
<v Speaker 1>And so I created this little platoon really called the

0:21:21.320 --> 0:21:25.120
<v Speaker 1>Essets Dogs, who are quite typical of what we know

0:21:25.240 --> 0:21:28.639
<v Speaker 1>of the rank and file of medieval armies in this period,

0:21:28.720 --> 0:21:31.199
<v Speaker 1>in that they're not professional soldiers, because there are no

0:21:31.240 --> 0:21:35.000
<v Speaker 1>professional armies in this point. They are sort of just

0:21:36.240 --> 0:21:41.160
<v Speaker 1>you call immerce and mercenary freebooters. Chances, you know, in

0:21:41.160 --> 0:21:45.119
<v Speaker 1>in war time they will seek out military contracts and

0:21:45.160 --> 0:21:47.920
<v Speaker 1>go fight for whoever is paying, and in peace time

0:21:48.000 --> 0:21:52.359
<v Speaker 1>they'll use exactly the same skills for whatever jobs require

0:21:52.400 --> 0:21:56.080
<v Speaker 1>them and that tends to be sort of thieving piracy.

0:21:56.320 --> 0:21:58.960
<v Speaker 1>If you need someone beating up poojical, you know they did.

0:21:59.000 --> 0:22:02.879
<v Speaker 1>So there are a group of violent of men pH

0:22:03.240 --> 0:22:06.479
<v Speaker 1>violence is their profession, but not all of them are

0:22:06.560 --> 0:22:09.959
<v Speaker 1>violent men. And so within this group you have some

0:22:10.000 --> 0:22:15.960
<v Speaker 1>people who are unthinkingly committed to the profession of fighting

0:22:16.240 --> 0:22:21.240
<v Speaker 1>and causing mayhem, and there are some who are new

0:22:21.240 --> 0:22:23.400
<v Speaker 1>to it and don't really know what they've gotten themselves into.

0:22:23.760 --> 0:22:27.119
<v Speaker 1>And there are some most or best epitomized by their

0:22:27.440 --> 0:22:30.879
<v Speaker 1>leader Loveday, who was into a birth, starting to have

0:22:30.920 --> 0:22:35.280
<v Speaker 1>second thoughts. And so you what we see unfold across

0:22:35.440 --> 0:22:41.480
<v Speaker 1>their adventures within the Crazy Campaign is the dissolving of

0:22:41.560 --> 0:22:46.280
<v Speaker 1>the bond between that group q as they all Osten's.

0:22:46.359 --> 0:22:47.960
<v Speaker 1>We try and keep the group to get you know,

0:22:47.960 --> 0:22:50.400
<v Speaker 1>they're they're committed. They're all verbally and in some sense

0:22:50.520 --> 0:22:53.600
<v Speaker 1>mentally committed to one another to keeping this this band together.

0:22:54.080 --> 0:22:56.359
<v Speaker 1>But actually it's it's all going to ship inside the

0:22:56.400 --> 0:22:58.919
<v Speaker 1>end of the Beatles. You know, everyone wants this thing

0:22:58.960 --> 0:23:01.119
<v Speaker 1>to continue, but it's it's you know, it has to

0:23:01.160 --> 0:23:03.800
<v Speaker 1>be has to finish. Although by the end of Crescy

0:23:03.960 --> 0:23:07.840
<v Speaker 1>and the Siege of Calais. It's a victory for the English,

0:23:08.040 --> 0:23:10.480
<v Speaker 1>isn't it? At this point. That's the thing about the

0:23:10.520 --> 0:23:15.160
<v Speaker 1>Creasy campaign. You have this Chevrochet, you have several big

0:23:15.800 --> 0:23:22.040
<v Speaker 1>sort of dramatic scenes in Norman towns. At Saalo con Rouen,

0:23:22.680 --> 0:23:25.520
<v Speaker 1>you have drama dramatic crossings of two rivers, the River

0:23:25.640 --> 0:23:28.080
<v Speaker 1>Seine and the north of that, the River So and

0:23:28.080 --> 0:23:30.480
<v Speaker 1>then you have this enormous battle at Cressy at the

0:23:30.560 --> 0:23:34.439
<v Speaker 1>end of August six, which is a seemingly miraculous victory

0:23:34.560 --> 0:23:38.359
<v Speaker 1>for the English. Subsequent to that they go off to Calais,

0:23:38.359 --> 0:23:40.160
<v Speaker 1>beseach Calais. That's the topic of the book I'm writing

0:23:40.200 --> 0:23:42.960
<v Speaker 1>at the moment, which is a sequel Dresserslves the Wolves

0:23:42.960 --> 0:23:47.560
<v Speaker 1>of Winter. Sorry to spoil the ending. Wikipedia would do

0:23:47.560 --> 0:23:51.879
<v Speaker 1>the job just as well. So of spoiling, I mean,

0:23:51.960 --> 0:23:54.560
<v Speaker 1>not a not a wristing a novel. No, but AI

0:23:54.720 --> 0:23:57.280
<v Speaker 1>might be might be close behind, and I think GBT

0:23:57.480 --> 0:23:59.800
<v Speaker 1>four might have and I like to say five for

0:23:59.880 --> 0:24:01.880
<v Speaker 1>the actually four that's going to catch me, I think,

0:24:02.200 --> 0:24:03.760
<v Speaker 1>so yeah. And then well then you have the Siege

0:24:03.760 --> 0:24:06.840
<v Speaker 1>of Calais which follows, which is a very different cattle fish.

0:24:06.880 --> 0:24:12.520
<v Speaker 1>If the Cresty campaign lasts roughly seven weeks. The Calais

0:24:12.520 --> 0:24:15.280
<v Speaker 1>campaign is an eleven month siege which ends with them

0:24:15.280 --> 0:24:19.120
<v Speaker 1>starving the people out of Calais. But yeah, the the

0:24:19.280 --> 0:24:21.800
<v Speaker 1>end fronduct of the of the Crest Cambais is they

0:24:21.800 --> 0:24:24.359
<v Speaker 1>take Calais and that's in English hands. Until Mary Tudors right,

0:24:25.359 --> 0:24:28.520
<v Speaker 1>it is wild to consider starving a city out as

0:24:28.520 --> 0:24:35.160
<v Speaker 1>a victory. Yeah, but that's that's the tactic in medieval siegecraft,

0:24:35.200 --> 0:24:37.680
<v Speaker 1>by and large, just hang around until someone gets bored

0:24:37.680 --> 0:24:41.040
<v Speaker 1>and gives up, or gets hungry and gives up, and

0:24:42.119 --> 0:24:44.960
<v Speaker 1>the victory is that Calais falls into English hands. And

0:24:45.000 --> 0:24:48.600
<v Speaker 1>this is not just why we took a city military terms,

0:24:49.000 --> 0:24:52.800
<v Speaker 1>there's an enormous economic component to this warfare. Now in

0:24:53.000 --> 0:24:57.120
<v Speaker 1>Essex Dogs, when I try and show really really up

0:24:57.200 --> 0:25:00.640
<v Speaker 1>with the camera locked to this very small group of men,

0:25:00.840 --> 0:25:02.919
<v Speaker 1>is what does the war look like from this in

0:25:02.920 --> 0:25:06.440
<v Speaker 1>this claustrophobic environment of the single military platoon. What I'm

0:25:06.440 --> 0:25:08.240
<v Speaker 1>trying to do with the siege of Calais in Wolves

0:25:08.280 --> 0:25:11.880
<v Speaker 1>of Winter is to show actually one of the other

0:25:12.000 --> 0:25:15.160
<v Speaker 1>interests in this war, because we've all heard the cliche

0:25:15.359 --> 0:25:19.720
<v Speaker 1>talking about British and American an Allied activity in the

0:25:19.760 --> 0:25:21.960
<v Speaker 1>Middle East over the course of our lifetimes. Ah, it's

0:25:22.000 --> 0:25:23.960
<v Speaker 1>all about the oil. It's just all about money. Well,

0:25:23.960 --> 0:25:26.879
<v Speaker 1>that's that's kind of people say that because there's a

0:25:26.880 --> 0:25:30.080
<v Speaker 1>lot big part of that. That's true. It's also true

0:25:30.160 --> 0:25:33.840
<v Speaker 1>in the Middle Ages that it's about the economy. And

0:25:34.119 --> 0:25:40.320
<v Speaker 1>Calais is an enormously important strategic town halfway between between

0:25:40.400 --> 0:25:43.600
<v Speaker 1>France and Flanders. It controls are very narrow, the narrowest

0:25:43.600 --> 0:25:46.479
<v Speaker 1>bit of the English Channel. It's in easy reach of

0:25:46.560 --> 0:25:51.600
<v Speaker 1>the most economically prosperous sports towns in southern England, and

0:25:51.680 --> 0:25:55.200
<v Speaker 1>it's the sinc Ports. It's been a haven for pirates

0:25:55.280 --> 0:25:57.080
<v Speaker 1>for years and years and years who can pray on

0:25:57.160 --> 0:26:01.159
<v Speaker 1>passing shipping. It's both a menace and an incredibly it

0:26:01.200 --> 0:26:05.000
<v Speaker 1>will be a bridge head for any further English military operation.

0:26:05.560 --> 0:26:08.919
<v Speaker 1>But fundamentally, once the siege of Catwan's Calais falls in

0:26:09.040 --> 0:26:12.600
<v Speaker 1>thirty seven, Edward the Third clears out everyone who lives

0:26:12.600 --> 0:26:15.480
<v Speaker 1>in Calais invites in the richest merchants from England to

0:26:15.600 --> 0:26:18.920
<v Speaker 1>take over this town and run it as an economic

0:26:18.960 --> 0:26:22.720
<v Speaker 1>contropoe on the continent. Again not new thinking, this was

0:26:22.760 --> 0:26:25.200
<v Speaker 1>exactly what had happened in the Holy Land during the Crusades.

0:26:25.560 --> 0:26:27.520
<v Speaker 1>The same thing had happened the Crusades. Yes, they had

0:26:27.560 --> 0:26:29.600
<v Speaker 1>a big religious purpose to go to Jerusalem. But then

0:26:29.600 --> 0:26:32.159
<v Speaker 1>there was the thing that kept every and interested was

0:26:32.200 --> 0:26:34.440
<v Speaker 1>the economic viability of the port. Tack. Well, this is

0:26:34.480 --> 0:26:36.080
<v Speaker 1>the sort of the same in the hundred Years ward.

0:26:36.080 --> 0:26:41.400
<v Speaker 1>That's there's a massive financial imperative to doing this, And

0:26:41.480 --> 0:26:44.639
<v Speaker 1>the only reason that these wars are possible is because

0:26:44.640 --> 0:26:48.000
<v Speaker 1>people are prepared to lend ed with the third astonishing

0:26:48.040 --> 0:26:51.840
<v Speaker 1>amounts of money. Astonishing amount of He bankrupts bank, he

0:26:51.920 --> 0:26:55.040
<v Speaker 1>bankrupts the body bank, He almost bankrupts the Fresco Baldi.

0:26:55.520 --> 0:26:59.240
<v Speaker 1>He he's running up these gigantic debts to syndicates of

0:26:59.320 --> 0:27:02.200
<v Speaker 1>merchants from the richest towns in England to continue paying

0:27:02.200 --> 0:27:04.679
<v Speaker 1>for this war. And they're all very happy to continue

0:27:04.720 --> 0:27:07.280
<v Speaker 1>financing the war because war is fantastic for business. The

0:27:07.359 --> 0:27:12.000
<v Speaker 1>more money they lend him, he mortgages. It actually creates

0:27:12.000 --> 0:27:13.560
<v Speaker 1>a mortgage to pay for these wars. He says, give

0:27:13.560 --> 0:27:16.560
<v Speaker 1>me the money now, and you can take over to

0:27:16.680 --> 0:27:19.679
<v Speaker 1>the tax revenues of all these different rich ports around England.

0:27:19.720 --> 0:27:21.879
<v Speaker 1>So the whole merchants take over the ports, all the

0:27:21.960 --> 0:27:25.000
<v Speaker 1>Yarmouth merchants take over the tax of the ports of Yarmouth,

0:27:25.000 --> 0:27:27.400
<v Speaker 1>the London merchants in London, and some of the Dover

0:27:27.480 --> 0:27:31.560
<v Speaker 1>and so so once you really start getting under the

0:27:31.600 --> 0:27:33.880
<v Speaker 1>skin of this war, which looks like if you read

0:27:33.960 --> 0:27:38.720
<v Speaker 1>Quassa Nights and nobles doing heroic deeds, that's just all like,

0:27:39.080 --> 0:27:41.679
<v Speaker 1>that's the that's the icing. This is really just about

0:27:42.160 --> 0:27:47.439
<v Speaker 1>merchants and pirates struggling financial dominance and poor grunts dying

0:27:47.520 --> 0:27:51.040
<v Speaker 1>because of it. If we're talking, you know, chivalric deeds.

0:27:51.200 --> 0:27:54.200
<v Speaker 1>I feel like the legend of Edward the Black Prince,

0:27:54.240 --> 0:27:57.400
<v Speaker 1>who is the son of King Edward the third. Obviously

0:27:57.520 --> 0:28:00.800
<v Speaker 1>Edward dies and never takes the throne, you know, leads

0:28:00.840 --> 0:28:03.919
<v Speaker 1>to challenges in the world the roses. But he's in

0:28:03.960 --> 0:28:07.399
<v Speaker 1>my understanding in British culture, very much seen as a

0:28:07.600 --> 0:28:11.600
<v Speaker 1>gallant hero. How did you portray him in your book,

0:28:12.400 --> 0:28:15.919
<v Speaker 1>she answered, in a non leading question. How nice, she

0:28:16.000 --> 0:28:18.159
<v Speaker 1>to asked, Yeah, it was it was the Black Print's

0:28:18.160 --> 0:28:21.240
<v Speaker 1>eldest son of Edward third, does have this this grand

0:28:21.280 --> 0:28:25.200
<v Speaker 1>reputation as the sort of paragonal of chivalry. It's it's him,

0:28:25.280 --> 0:28:27.520
<v Speaker 1>It's Henry the fifth after him, and it's leverage of

0:28:27.560 --> 0:28:29.680
<v Speaker 1>the line art before him. I don't think he would

0:28:29.680 --> 0:28:33.600
<v Speaker 1>have wanted to run into any of those three. Ah.

0:28:33.880 --> 0:28:37.080
<v Speaker 1>Actually I was concerned a dark alley, but anywhere ever, well,

0:28:37.119 --> 0:28:39.600
<v Speaker 1>I would I I'm very charming in a lady. They

0:28:39.600 --> 0:28:43.360
<v Speaker 1>would be very nice to me. They wouldn't. That's learns

0:28:43.440 --> 0:28:47.000
<v Speaker 1>the horrible thing that they really, absolutely massively would. None

0:28:47.040 --> 0:28:49.320
<v Speaker 1>of those three men would be nice to you at all.

0:28:49.600 --> 0:28:52.360
<v Speaker 1>They would be ghastly to you, and there would be

0:28:52.400 --> 0:28:54.400
<v Speaker 1>ghastly to me as well, because I would be a

0:28:54.400 --> 0:28:59.360
<v Speaker 1>sort of Welsh peasant person. So um. But it is

0:28:59.360 --> 0:29:02.440
<v Speaker 1>the Blackfrint. He has this great reputation. I think. Is

0:29:02.640 --> 0:29:06.960
<v Speaker 1>it's great that he never became king, because the reputation

0:29:07.000 --> 0:29:09.760
<v Speaker 1>will have evaporated. He was, by no means as subtle

0:29:09.960 --> 0:29:14.520
<v Speaker 1>as his father. He was in later life an extraordinarily

0:29:14.520 --> 0:29:20.240
<v Speaker 1>effective war lords medieval military tactician, if not a strategist.

0:29:21.000 --> 0:29:26.280
<v Speaker 1>He was being brute, absolutely like Henry the Fit, absolutely

0:29:26.400 --> 0:29:29.240
<v Speaker 1>brutal in an age which demanded that labine large of

0:29:29.240 --> 0:29:34.280
<v Speaker 1>its military leaders in the Kressy campaign. He's often romanticized

0:29:34.960 --> 0:29:37.440
<v Speaker 1>as having been this kind of sixteen year old is

0:29:37.640 --> 0:29:41.440
<v Speaker 1>first time on campaign, and so the story goes based

0:29:41.480 --> 0:29:45.160
<v Speaker 1>on very very thin evidence. He quits himself immensely. Well, well,

0:29:45.200 --> 0:29:47.200
<v Speaker 1>what do we mean he quits himself. Well, he sort

0:29:47.200 --> 0:29:50.120
<v Speaker 1>of doesn't really do anything for the whole of the

0:29:50.160 --> 0:29:53.600
<v Speaker 1>campaign because he's been babysat by the Marshal of the Army,

0:29:54.720 --> 0:29:58.440
<v Speaker 1>Thomas Beecham, Earl of Warwick, and the Constable of the Army,

0:29:58.680 --> 0:30:02.680
<v Speaker 1>William to Boone, Earl Northampton. When he does sort of

0:30:02.680 --> 0:30:04.520
<v Speaker 1>have an opportunity to do anything, the first thing he

0:30:04.560 --> 0:30:09.200
<v Speaker 1>does of real note during the campaign is sack a monastery.

0:30:09.280 --> 0:30:12.680
<v Speaker 1>Then he allows then a bit later, once his father

0:30:12.720 --> 0:30:15.440
<v Speaker 1>has issued instructions they're on the run from Phillip's army.

0:30:15.440 --> 0:30:17.480
<v Speaker 1>At this point between the sen and Song, on no

0:30:17.600 --> 0:30:20.160
<v Speaker 1>account are we stopping to sack monasteries. He lets his

0:30:20.240 --> 0:30:22.720
<v Speaker 1>then sack another monastery, for which twenty of his men

0:30:22.920 --> 0:30:26.440
<v Speaker 1>are hanged summarily by his father. And then when we

0:30:26.440 --> 0:30:30.240
<v Speaker 1>get to the Battle of Crescy well Edward, the Black

0:30:30.280 --> 0:30:34.120
<v Speaker 1>Prince comports himself in quite a strange way. He's placed

0:30:34.320 --> 0:30:38.760
<v Speaker 1>he sort of front and center of the action, but

0:30:38.840 --> 0:30:43.160
<v Speaker 1>he doesn't really obey orders or seem to understand the

0:30:43.240 --> 0:30:46.840
<v Speaker 1>tactics of the battle very well, and he allows himself

0:30:46.840 --> 0:30:49.920
<v Speaker 1>to be pulled out of the English lines and effectively

0:30:49.960 --> 0:30:52.480
<v Speaker 1>captured and his standard face and this is a big

0:30:52.520 --> 0:30:54.480
<v Speaker 1>disaster in the in the heat of the battle for

0:30:54.600 --> 0:30:59.120
<v Speaker 1>the English. Now, the legend goes that he had been

0:30:59.320 --> 0:31:02.880
<v Speaker 1>seen around it and his father was who was commanding

0:31:02.920 --> 0:31:04.800
<v Speaker 1>the battle from the rear, up on a windmill so

0:31:04.840 --> 0:31:08.360
<v Speaker 1>he could see across the whole battlefield. His father was

0:31:08.400 --> 0:31:10.400
<v Speaker 1>informed that he was in trouble and said, oh, you know,

0:31:10.480 --> 0:31:13.120
<v Speaker 1>let it, let him win. His spurs had improved himself

0:31:13.160 --> 0:31:16.000
<v Speaker 1>a man. But none of that in point of historical fact.

0:31:16.040 --> 0:31:18.640
<v Speaker 1>And it's been some amazing research on crazy. Historical research

0:31:18.680 --> 0:31:22.160
<v Speaker 1>on crazy recently by Michael Livingstone, which has revised the

0:31:22.200 --> 0:31:25.520
<v Speaker 1>location of the battlefield and everything basically happened on the

0:31:25.560 --> 0:31:28.640
<v Speaker 1>battlefield says that that's really not what happened at all.

0:31:28.720 --> 0:31:32.080
<v Speaker 1>He was captured and he was enormously lucky to be

0:31:32.160 --> 0:31:37.520
<v Speaker 1>rescued m hm um and his father was extremely annoyed

0:31:37.560 --> 0:31:40.520
<v Speaker 1>with him after the battle. Anyway, So in my not

0:31:40.680 --> 0:31:43.360
<v Speaker 1>knowing all this, as I'm trying to write the Black

0:31:43.400 --> 0:31:47.560
<v Speaker 1>Prince into the story of Essex Dogs, I also asked myself. Well, firstly,

0:31:47.600 --> 0:31:49.480
<v Speaker 1>you say, well, people can change out their career. And

0:31:49.520 --> 0:31:53.200
<v Speaker 1>I asked myself, what would a sixteen year old placed

0:31:53.240 --> 0:31:55.880
<v Speaker 1>in charge of an army when his dad's also the king,

0:31:56.240 --> 0:32:00.760
<v Speaker 1>actually be like? And my answer was not so. Well,

0:32:00.800 --> 0:32:03.200
<v Speaker 1>there's a degree of petulance, which, to go back to

0:32:03.240 --> 0:32:06.280
<v Speaker 1>the beginning of our conversation, one does see sometimes in

0:32:06.360 --> 0:32:11.480
<v Speaker 1>princes of the royal blood there's an enormal carmanorum. Yeah,

0:32:11.720 --> 0:32:16.640
<v Speaker 1>thank you, enormous amon of arrogance. There's a total irresponsibility.

0:32:16.880 --> 0:32:20.000
<v Speaker 1>And since I was trying to write a fun novel

0:32:20.040 --> 0:32:23.520
<v Speaker 1>and there's almost nothing that's known in reality about the

0:32:23.520 --> 0:32:27.280
<v Speaker 1>Black Prince's character from this time, it's not written afterwards

0:32:27.360 --> 0:32:29.520
<v Speaker 1>by people just seeking to lionize him, I thought, well,

0:32:29.560 --> 0:32:31.760
<v Speaker 1>let's make him a drunk, Let's make him a sufficious

0:32:31.800 --> 0:32:36.000
<v Speaker 1>little swine, but also a guy who has beat And

0:32:36.040 --> 0:32:39.160
<v Speaker 1>then here's Harry again, has had to deal with the

0:32:39.160 --> 0:32:41.560
<v Speaker 1>fact of a father as a king. His father has

0:32:41.600 --> 0:32:43.400
<v Speaker 1>been king since he was fifty. His father is not

0:32:44.160 --> 0:32:49.000
<v Speaker 1>deemed to all his school plays. Let's say he's he's

0:32:49.000 --> 0:32:54.000
<v Speaker 1>a horrible little shit because he's lonely, but that doesn't

0:32:54.040 --> 0:32:56.640
<v Speaker 1>excuse his atrocious behavior. Throughout Essex songs, and that we

0:32:56.680 --> 0:32:59.440
<v Speaker 1>have a mirror character among the Essex songs is called Romford,

0:32:59.680 --> 0:33:02.080
<v Speaker 1>who's also sixteen, but who's a sort of street kid

0:33:02.120 --> 0:33:04.520
<v Speaker 1>from London who has been found his way into this

0:33:04.600 --> 0:33:07.600
<v Speaker 1>group of theirs. Told of the last minute, literally as

0:33:07.600 --> 0:33:09.480
<v Speaker 1>they're getting on the boat to leave France. He's trying

0:33:09.480 --> 0:33:12.600
<v Speaker 1>to run away from England and succeeds. He and the

0:33:12.680 --> 0:33:18.760
<v Speaker 1>Prince cross paths with for Romford emotionally disastrous consequences and

0:33:18.800 --> 0:33:21.720
<v Speaker 1>for the Prince absolutely no consequences whatsoever. He learns nothing,

0:33:21.800 --> 0:33:25.960
<v Speaker 1>he sees nothing, he's he's completely untouched by the gentle

0:33:26.000 --> 0:33:28.880
<v Speaker 1>suffering of his his little acolyte. And so there's a

0:33:29.120 --> 0:33:32.960
<v Speaker 1>kind of it's not quite a romance between them at all,

0:33:33.400 --> 0:33:36.440
<v Speaker 1>but there is a collision of these two sixteen year

0:33:36.440 --> 0:33:39.160
<v Speaker 1>olds in war that I found quite interesting to write.

0:33:39.640 --> 0:33:41.880
<v Speaker 1>I was going to ask, I don't want to do

0:33:41.920 --> 0:33:44.520
<v Speaker 1>another too much about leaving question, but there is a

0:33:44.560 --> 0:33:49.240
<v Speaker 1>little interesting thing you play with around sexuality, and can

0:33:49.280 --> 0:33:51.880
<v Speaker 1>you talk a little bit about the fluidity maybe of

0:33:51.920 --> 0:33:56.040
<v Speaker 1>sexuality in the th hundreds that maybe modern audiences don't

0:33:56.080 --> 0:34:00.160
<v Speaker 1>understand necessarily or want to think about. Yeah, there's look

0:34:00.200 --> 0:34:04.400
<v Speaker 1>at this quite a lot of really respectable authors and

0:34:04.880 --> 0:34:07.920
<v Speaker 1>I can't possibly include myself in that bracket, but you know,

0:34:08.000 --> 0:34:10.719
<v Speaker 1>there's there's there's proper writers writing about the Middle Ages

0:34:10.760 --> 0:34:14.680
<v Speaker 1>at the moment. The temptation, of course, for modern novelists

0:34:14.719 --> 0:34:19.879
<v Speaker 1>approaching the Middle Ages is to just dump twenty one

0:34:19.960 --> 0:34:25.080
<v Speaker 1>century priorities onto this canvas because it's like it's a

0:34:25.120 --> 0:34:28.080
<v Speaker 1>cool mash up and I get it, it's heynani no,

0:34:28.400 --> 0:34:31.719
<v Speaker 1>but guess what, we're all sort of gender fluid or

0:34:31.719 --> 0:34:33.880
<v Speaker 1>whatever it might be. Because some of these novels are

0:34:33.920 --> 0:34:37.239
<v Speaker 1>great in their way, but I found it like, not

0:34:37.440 --> 0:34:41.719
<v Speaker 1>that satisfying a thing for me to do, to go

0:34:42.040 --> 0:34:43.640
<v Speaker 1>to go and do that. And what I tried to

0:34:43.719 --> 0:34:46.759
<v Speaker 1>draw out in Essex Dogs, particularly in this story I've

0:34:46.760 --> 0:34:51.200
<v Speaker 1>alluded to between Romford and the Black Prince, is something

0:34:51.239 --> 0:34:53.959
<v Speaker 1>about what sexuality was like in the Middle Ages, which

0:34:54.000 --> 0:34:59.200
<v Speaker 1>is not so categorized, let's say, as it is now. Yeah,

0:34:59.239 --> 0:35:02.239
<v Speaker 1>we have in the tw first century a weirdly nineteen

0:35:02.400 --> 0:35:06.439
<v Speaker 1>century pseudo scientifical scientific sort of approach that we've we've

0:35:06.440 --> 0:35:09.000
<v Speaker 1>put into gender and sexuality that were we to see

0:35:09.040 --> 0:35:12.880
<v Speaker 1>it in terms of ethnicity and like the shapes of

0:35:12.920 --> 0:35:14.400
<v Speaker 1>heads and ship. You go, oh my god, that's the

0:35:14.440 --> 0:35:19.920
<v Speaker 1>wackiest end of the wackiest, wackiest end of nineteenth century pseudoscience.

0:35:20.280 --> 0:35:22.480
<v Speaker 1>But we've we've sort of got a version of that

0:35:22.600 --> 0:35:24.920
<v Speaker 1>around section in the Middle Age. You don't have any

0:35:24.920 --> 0:35:28.440
<v Speaker 1>of that. You've got lots of really wacky, weird nonsense science,

0:35:29.000 --> 0:35:33.399
<v Speaker 1>but it doesn't seem to have been applied to categorizing sexuality.

0:35:33.800 --> 0:35:39.359
<v Speaker 1>So the love between men, which we would probably categorize

0:35:39.400 --> 0:35:44.319
<v Speaker 1>as homosexual, isn't really thought of in that way. As

0:35:44.360 --> 0:35:48.960
<v Speaker 1>the Middle Ages. There are distinct categories of sexual in misconduct. Well,

0:35:48.960 --> 0:35:52.080
<v Speaker 1>there's really one which is buggery. That's how to make

0:35:52.160 --> 0:35:54.560
<v Speaker 1>anything that as we were telling me, yeah, son of yeah,

0:35:54.800 --> 0:35:57.920
<v Speaker 1>there's that, and then there's everything else, or rather there's

0:35:58.160 --> 0:36:01.040
<v Speaker 1>there's what's a legit in the church law in terms

0:36:01.080 --> 0:36:04.400
<v Speaker 1>of sexual conduct, which is very strictly by this stage

0:36:05.000 --> 0:36:07.840
<v Speaker 1>defined as sex between one man and one woman for

0:36:07.960 --> 0:36:11.839
<v Speaker 1>the purposes of procreation. And then there's everything else, which

0:36:12.000 --> 0:36:14.319
<v Speaker 1>is pretty my guinet, which could be gathered about. Now

0:36:14.360 --> 0:36:17.719
<v Speaker 1>that's a very strict church definition and it's not very

0:36:17.719 --> 0:36:19.920
<v Speaker 1>well policed, and I don't think it's very well observed

0:36:20.000 --> 0:36:22.040
<v Speaker 1>or eBay if that is definitely not very well observed

0:36:22.080 --> 0:36:26.000
<v Speaker 1>or obeyed by ordinary people. But as regards you know,

0:36:26.200 --> 0:36:30.640
<v Speaker 1>the sort of versions of same sex attraction, which in

0:36:30.719 --> 0:36:32.840
<v Speaker 1>the twenty fi century we would be extremely keen to

0:36:33.000 --> 0:36:37.440
<v Speaker 1>categorize and delineate and make sort of names for and

0:36:37.800 --> 0:36:41.040
<v Speaker 1>acronyms and hashtags and stuff like. That's that's us. They

0:36:41.080 --> 0:36:43.600
<v Speaker 1>just don't do that. I'm not like passing judgment, really,

0:36:44.000 --> 0:36:45.640
<v Speaker 1>I'm just saying that that's not how it works in

0:36:45.680 --> 0:36:48.160
<v Speaker 1>the Middle Ages. When you try and make the Middle

0:36:48.160 --> 0:36:50.120
<v Speaker 1>Ages do that, it doesn't ring very true. So what

0:36:50.200 --> 0:36:51.960
<v Speaker 1>I try to do, as it stokes, it's just play

0:36:52.000 --> 0:36:55.359
<v Speaker 1>with this idea that there is an attraction certainly from

0:36:55.440 --> 0:37:00.319
<v Speaker 1>Romford side. Yes, that came across as as a reader. Yeah,

0:37:00.320 --> 0:37:02.880
<v Speaker 1>older men are attracted to Romford. Robert doesn't really know

0:37:02.960 --> 0:37:06.600
<v Speaker 1>what he's about because he's just like a fiend and

0:37:06.719 --> 0:37:11.080
<v Speaker 1>a drifter. He quite likes the Prince, but he doesn't

0:37:11.080 --> 0:37:14.319
<v Speaker 1>it doesn't sort of torture himself by asking what that

0:37:14.400 --> 0:37:18.200
<v Speaker 1>makes him. He just has this kind of attraction towards

0:37:18.200 --> 0:37:21.000
<v Speaker 1>the Prince, which is in some sense sexual, but it's

0:37:21.080 --> 0:37:25.560
<v Speaker 1>also in that is sexual attraction is indistinguishable from a

0:37:25.680 --> 0:37:28.000
<v Speaker 1>role that Romford is given as a squire, as a

0:37:28.040 --> 0:37:31.600
<v Speaker 1>sort of social inferior to the prince. So he's sort

0:37:31.600 --> 0:37:34.800
<v Speaker 1>of he looks at him with this kind of daunted

0:37:34.840 --> 0:37:39.239
<v Speaker 1>admiration which spills over into sexual attraction. But that's so

0:37:39.360 --> 0:37:42.400
<v Speaker 1>much of that is part of his feeling, like the

0:37:43.239 --> 0:37:46.799
<v Speaker 1>social difference between them, and you can't unpick in the

0:37:46.840 --> 0:37:51.120
<v Speaker 1>Middle Ages that the difference for me between social longing

0:37:51.920 --> 0:37:54.080
<v Speaker 1>and sexual longing. They're bound up in the same thing.

0:37:54.160 --> 0:37:56.399
<v Speaker 1>And so the love story such as is between them

0:37:56.440 --> 0:38:03.360
<v Speaker 1>is quite subtle. I think it's certainly in its resolution, yeah, yeah,

0:38:03.400 --> 0:38:09.040
<v Speaker 1>and doesn't push it into the psychological component of romance

0:38:09.160 --> 0:38:11.879
<v Speaker 1>that we are familiar. And that that really something I've

0:38:11.880 --> 0:38:14.600
<v Speaker 1>tried to do throughout Essex Dogs Is is showing you

0:38:14.760 --> 0:38:19.440
<v Speaker 1>the Middle Ages with as little twenty one century psychological

0:38:19.440 --> 0:38:23.040
<v Speaker 1>intrusion as is possible without making it just totally confusing

0:38:23.040 --> 0:38:25.560
<v Speaker 1>and weird. So they do in order to make it comprehensible,

0:38:25.560 --> 0:38:28.200
<v Speaker 1>they speak in a sort of form of modern idium,

0:38:28.640 --> 0:38:32.600
<v Speaker 1>but they don't do things. Even the sympathetic characters don't

0:38:32.640 --> 0:38:36.280
<v Speaker 1>aren't really sympathetic in ways that are we would find

0:38:36.320 --> 0:38:39.200
<v Speaker 1>sympathetic in a novel set in contemporary time. I find

0:38:39.239 --> 0:38:42.480
<v Speaker 1>that challenge so relatable. I wrote a book and another

0:38:42.520 --> 0:38:45.239
<v Speaker 1>book coming out in February that takes place in the

0:38:45.280 --> 0:38:49.200
<v Speaker 1>early eight hundreds, and I tried to keep everything as

0:38:50.120 --> 0:38:53.319
<v Speaker 1>heldable for a modern audience as I could, while still

0:38:53.360 --> 0:38:56.799
<v Speaker 1>maintaining the feel of, you know, the regency period, pre

0:38:56.920 --> 0:38:59.960
<v Speaker 1>regid spirit in this sense. But my copy had a

0:39:00.000 --> 0:39:01.839
<v Speaker 1>her and I went back and forth a lot because

0:39:01.880 --> 0:39:04.560
<v Speaker 1>I wanted to have characters say okay, and she was like,

0:39:04.760 --> 0:39:06.319
<v Speaker 1>you can't, and I was like, I know it's not

0:39:06.400 --> 0:39:08.719
<v Speaker 1>historically accurate, but to me, it conveys sort of a

0:39:08.840 --> 0:39:13.480
<v Speaker 1>youthfulness and a teenage, you know, conversationality that a younger

0:39:13.560 --> 0:39:15.400
<v Speaker 1>character would do. That I kept them. So it's like

0:39:15.440 --> 0:39:17.560
<v Speaker 1>even the mistakes that I mistakes, I put an air

0:39:17.600 --> 0:39:20.120
<v Speaker 1>quotes I made. I think I tried to make us

0:39:20.160 --> 0:39:23.960
<v Speaker 1>deliberate choices for the text. As you know, I absolutely

0:39:24.000 --> 0:39:27.600
<v Speaker 1>loved Nat, Thank you very much. Cannot wait through immortality,

0:39:27.760 --> 0:39:31.040
<v Speaker 1>and I I think you're brilliant. And I just I

0:39:31.120 --> 0:39:33.840
<v Speaker 1>read that that first boview was in like one. I didn't.

0:39:34.080 --> 0:39:37.000
<v Speaker 1>I didn't put him up to this. You absolutely didn't.

0:39:37.000 --> 0:39:39.000
<v Speaker 1>You absolutely didn't felt it barely knew when I bought

0:39:39.040 --> 0:39:41.239
<v Speaker 1>it and I read it in one go and I

0:39:41.280 --> 0:39:43.640
<v Speaker 1>was transfixed by I remember as I was reading, I

0:39:43.719 --> 0:39:46.520
<v Speaker 1>was send your message, say this is just such like

0:39:46.600 --> 0:39:49.160
<v Speaker 1>I was transported to that to Edinburgh at that time,

0:39:49.840 --> 0:39:52.440
<v Speaker 1>and I thought that you just handled all of the

0:39:52.480 --> 0:39:55.640
<v Speaker 1>stuff that I've been agonized I was agonizing over as

0:39:55.760 --> 0:39:57.360
<v Speaker 1>I was writing Essex Stalks at the time. I was

0:39:57.360 --> 0:40:00.959
<v Speaker 1>reading that just like it just felt and I'm sure

0:40:01.200 --> 0:40:04.239
<v Speaker 1>effortless it's not the right word, because no, no, I

0:40:04.239 --> 0:40:06.440
<v Speaker 1>I agonized when those lists too. You have to make

0:40:06.480 --> 0:40:09.360
<v Speaker 1>those the sort of choices, but as a result that

0:40:09.400 --> 0:40:13.840
<v Speaker 1>you end up with feels just you know, once the

0:40:13.880 --> 0:40:17.640
<v Speaker 1>reader falls under your spell in anatomy, you know they're

0:40:17.680 --> 0:40:20.240
<v Speaker 1>just they're they're in that world and it just everything

0:40:20.320 --> 0:40:22.600
<v Speaker 1>feels right. And I think you've got to You've got

0:40:22.600 --> 0:40:24.600
<v Speaker 1>to earn that. And don't know, I think you know,

0:40:24.800 --> 0:40:26.840
<v Speaker 1>as you know, I thought you you earned it magnificently

0:40:26.840 --> 0:40:28.480
<v Speaker 1>in that book. But I think any writer has you

0:40:28.520 --> 0:40:32.000
<v Speaker 1>have to earn the right to do things that aren't

0:40:32.000 --> 0:40:34.360
<v Speaker 1>period accurate within a period book. Then that means getting

0:40:34.360 --> 0:40:38.080
<v Speaker 1>an awful lot of stuff right or close to right.

0:40:38.239 --> 0:40:40.920
<v Speaker 1>So that you're then you you then say okay, well

0:40:41.320 --> 0:40:44.239
<v Speaker 1>you earn the reader's trust and they're going to go

0:40:44.320 --> 0:40:46.799
<v Speaker 1>with you even when it is clear that you're doing

0:40:46.840 --> 0:40:50.400
<v Speaker 1>things that are not possible in that period. So in essence, dogs,

0:40:50.680 --> 0:40:53.200
<v Speaker 1>you know you've said, you have people saying okay, I

0:40:53.200 --> 0:40:56.000
<v Speaker 1>I really struggled with I'm writing a book about men

0:40:56.160 --> 0:40:59.239
<v Speaker 1>in an army. How am I going to have them

0:41:00.040 --> 0:41:04.040
<v Speaker 1>speak to one another? Because they's got to be somewhat profane.

0:41:04.640 --> 0:41:09.279
<v Speaker 1>But the profanity of the Middle Ages is blasphemy for

0:41:09.440 --> 0:41:14.520
<v Speaker 1>the fundamentally, our profanity is schatology and and it's and

0:41:14.640 --> 0:41:19.520
<v Speaker 1>it's sexual. That's how we swear. But so I had

0:41:19.560 --> 0:41:21.719
<v Speaker 1>a lot of trouble about am I going to use

0:41:21.719 --> 0:41:24.960
<v Speaker 1>the F word in this? And eventually yeah, I use

0:41:25.480 --> 0:41:29.160
<v Speaker 1>fairly liberally to punctuate military speech to because you have

0:41:29.239 --> 0:41:33.520
<v Speaker 1>to translate dialogue from communicate it to a modern audience

0:41:33.560 --> 0:41:36.520
<v Speaker 1>what you need to convey. It's part of the Tiffany

0:41:36.560 --> 0:41:40.120
<v Speaker 1>for oublem, right, the Tiffany problem. Yeah, it's a So

0:41:40.360 --> 0:41:42.440
<v Speaker 1>it's that's just sort of the colloquial name for it.

0:41:42.480 --> 0:41:45.600
<v Speaker 1>The fact that like if someone hears the name Tiffany,

0:41:45.480 --> 0:41:48.520
<v Speaker 1>they're they're like, oh, let's go to the mall. But

0:41:48.560 --> 0:41:51.760
<v Speaker 1>Tiffany is a name that existed in the Middle Ages

0:41:51.800 --> 0:41:54.360
<v Speaker 1>and the him you know, and for for years and

0:41:54.520 --> 0:41:57.400
<v Speaker 1>hundreds of years. But if you wrote a historical fiction

0:41:57.480 --> 0:42:00.840
<v Speaker 1>book and made your main character named Tiffany, it would

0:42:00.840 --> 0:42:03.720
<v Speaker 1>seem wrong even if it's right. And so the typically

0:42:03.800 --> 0:42:07.000
<v Speaker 1>problem is a is a colloquial version that someone told

0:42:07.000 --> 0:42:09.880
<v Speaker 1>to me when I was writing anatomy, where sometimes you

0:42:09.920 --> 0:42:12.839
<v Speaker 1>have to make things a little wrong so they feel right.

0:42:12.920 --> 0:42:15.279
<v Speaker 1>To monorn readers, do you know what I love that?

0:42:15.320 --> 0:42:18.279
<v Speaker 1>I've never heard it describes the Tiffany problem before, But

0:42:18.360 --> 0:42:21.000
<v Speaker 1>it's that's that says that says everything. I always think.

0:42:21.040 --> 0:42:23.840
<v Speaker 1>It's like castles, you know, I like Headed Castle a

0:42:24.440 --> 0:42:28.280
<v Speaker 1>famous watch watch Dan Jans Walk Your Castles on Netflix.

0:42:28.480 --> 0:42:31.719
<v Speaker 1>Please please squander your life in this pursuit. But they're

0:42:31.760 --> 0:42:33.239
<v Speaker 1>the wrong cut, you know, you see them now. They're

0:42:33.239 --> 0:42:36.520
<v Speaker 1>so bland. All medieval churches that's just devoid almost there

0:42:36.680 --> 0:42:39.120
<v Speaker 1>the usually devoid of wall paintings and color and no

0:42:39.239 --> 0:42:42.440
<v Speaker 1>with whitewash. If I went down the Windsor Castle Runch

0:42:42.560 --> 0:42:44.880
<v Speaker 1>is about five miles down the road from my house

0:42:45.160 --> 0:42:47.520
<v Speaker 1>with my tin of whitewash, and I just whitewash one

0:42:47.560 --> 0:42:51.120
<v Speaker 1>of the towers. I reckonized, I reckon trees and laws

0:42:51.120 --> 0:42:53.919
<v Speaker 1>would be dusted off. But they in the Middle Ages,

0:42:53.960 --> 0:42:55.799
<v Speaker 1>it would not be unusual to have a sort of

0:42:55.840 --> 0:42:58.920
<v Speaker 1>a bright new colored castle. But we just think so

0:42:59.000 --> 0:43:00.799
<v Speaker 1>even if you saw it on ILM, you'd say that's

0:43:00.840 --> 0:43:03.040
<v Speaker 1>absolutely non to These people don't know anything about the

0:43:03.040 --> 0:43:04.600
<v Speaker 1>Middle Age, So you're right. This is a version of

0:43:04.640 --> 0:43:07.160
<v Speaker 1>the Tiffany. I call it the white washing windsor castle

0:43:07.440 --> 0:43:11.520
<v Speaker 1>white washing winter castle problem, copyrighted Dan Jones. Another thing

0:43:11.920 --> 0:43:15.120
<v Speaker 1>I also think, I mean, I I loved ethex Dogs,

0:43:15.200 --> 0:43:16.840
<v Speaker 1>I like I thought it was just I felt like

0:43:16.880 --> 0:43:18.960
<v Speaker 1>I was learning. This was a period of history I

0:43:19.200 --> 0:43:22.239
<v Speaker 1>didn't know much about, and it made a battle feel

0:43:22.280 --> 0:43:24.799
<v Speaker 1>so immediate and personal when I tend to be so

0:43:24.920 --> 0:43:28.200
<v Speaker 1>bored by military history. It was so brilliantly done. Your

0:43:28.280 --> 0:43:30.560
<v Speaker 1>characters are so well sketched, and I think that your

0:43:30.760 --> 0:43:36.160
<v Speaker 1>use of violence and gore is so well placed. You

0:43:36.200 --> 0:43:39.399
<v Speaker 1>don't use it gratuitously, but you convey how brutal these

0:43:39.400 --> 0:43:42.680
<v Speaker 1>battles were. Well. Thank you. And there's I don't read

0:43:42.719 --> 0:43:47.920
<v Speaker 1>a lot of military fiction, and I don't write. I

0:43:47.920 --> 0:43:50.400
<v Speaker 1>mean I sort of some of them the books. In

0:43:50.560 --> 0:43:52.400
<v Speaker 1>books like The Crusade, you can't get away from it,

0:43:52.400 --> 0:43:54.239
<v Speaker 1>but the political as well as military, and it's not

0:43:55.480 --> 0:43:58.279
<v Speaker 1>you know, I'm not a battle nerd, really, but I

0:43:58.320 --> 0:44:01.400
<v Speaker 1>am a kind of people. And if one of the

0:44:01.440 --> 0:44:04.040
<v Speaker 1>techniques that I tried, or the main technique I tried

0:44:04.040 --> 0:44:06.359
<v Speaker 1>to use an Essex Dogs in order not to have

0:44:06.760 --> 0:44:12.120
<v Speaker 1>very sort of either cliche or just like gratuitously unpleasant

0:44:12.160 --> 0:44:15.600
<v Speaker 1>battle scenes, was just a lock focus, super super tight

0:44:15.719 --> 0:44:19.520
<v Speaker 1>with one character and you follow mainly two characters. You

0:44:19.520 --> 0:44:21.560
<v Speaker 1>follow the group of characters, but you're locked with a

0:44:21.560 --> 0:44:23.680
<v Speaker 1>couple of viewpoints love Day and Romford through most of

0:44:23.760 --> 0:44:26.640
<v Speaker 1>Essex Dogs, and not as much as you. But I

0:44:26.640 --> 0:44:30.360
<v Speaker 1>have worked in TV as well as in writing, and

0:44:30.480 --> 0:44:32.520
<v Speaker 1>one of the directors I worked with on a show

0:44:32.560 --> 0:44:34.680
<v Speaker 1>a few years ago gave me a very good piece

0:44:34.719 --> 0:44:36.960
<v Speaker 1>of advice, which is, if you're having trouble writing your

0:44:36.960 --> 0:44:39.759
<v Speaker 1>way through a scene, just lock that camera on one

0:44:39.800 --> 0:44:42.520
<v Speaker 1>person's shoulder. I found that the more I did that

0:44:42.560 --> 0:44:45.360
<v Speaker 1>in Essex Dogs, the more the battles sort of gained

0:44:45.440 --> 0:44:48.600
<v Speaker 1>very similitude. And there's one which is the one I

0:44:48.640 --> 0:44:51.440
<v Speaker 1>suppose it's really is a crescy where for part of

0:44:51.440 --> 0:44:53.560
<v Speaker 1>it where with Romford and he's just on the floor,

0:44:54.480 --> 0:44:55.879
<v Speaker 1>just on the floor, and we could see his feet

0:44:55.880 --> 0:44:58.680
<v Speaker 1>have been kicking it. But then it's really but he

0:44:58.719 --> 0:45:01.680
<v Speaker 1>can't get a real can't get up, and you don't

0:45:01.680 --> 0:45:04.799
<v Speaker 1>see anything out like flashes, you see other stuff that

0:45:04.880 --> 0:45:08.080
<v Speaker 1>also I found, like, firstly, it freed me from having

0:45:08.080 --> 0:45:11.680
<v Speaker 1>to write endless, endlessly long boring battle scene, so you've

0:45:11.719 --> 0:45:15.719
<v Speaker 1>just got this like confused chaotic vision through one person's eyes.

0:45:16.000 --> 0:45:18.959
<v Speaker 1>But I found also enabled me to make jokes because

0:45:19.000 --> 0:45:22.120
<v Speaker 1>anyone who knows is invested in the history of the

0:45:22.160 --> 0:45:24.360
<v Speaker 1>Crescent Campaign will come to us themselves and we'll be

0:45:24.400 --> 0:45:26.640
<v Speaker 1>able to see where there are there's little easter eggs

0:45:26.640 --> 0:45:30.120
<v Speaker 1>for the homeboys, right, like if you know that the

0:45:30.160 --> 0:45:32.839
<v Speaker 1>Black Prince, if you if you heard about the Black Princes, go, well,

0:45:32.840 --> 0:45:35.600
<v Speaker 1>it wasn't actually true that the Black Prince wore black armor.

0:45:35.680 --> 0:45:39.640
<v Speaker 1>That's a Victorian myth. Right, let's st get this. Then

0:45:39.680 --> 0:45:42.120
<v Speaker 1>there's a there's a joke for you about why how

0:45:42.120 --> 0:45:43.880
<v Speaker 1>he gets that name and the way he acts when

0:45:43.920 --> 0:45:46.080
<v Speaker 1>someone offers to give him some black armor is like

0:45:46.120 --> 0:45:48.640
<v Speaker 1>it's but if you don't know. It doesn't marry says

0:45:48.640 --> 0:45:51.560
<v Speaker 1>in character, but the picking viewpoints that are attached closely

0:45:51.600 --> 0:45:54.360
<v Speaker 1>to one character, you know, usually a lonely part of

0:45:54.400 --> 0:45:58.279
<v Speaker 1>the of the social hierarchy. I just found I had

0:45:58.400 --> 0:46:03.280
<v Speaker 1>much been a ways of having jokes and subverting history

0:46:03.360 --> 0:46:07.000
<v Speaker 1>and messing around with it, and and I enjoyed myself

0:46:07.120 --> 0:46:09.680
<v Speaker 1>doing that a great deal. But then look, i'd have

0:46:09.719 --> 0:46:11.480
<v Speaker 1>written a novel before. It was all new to me,

0:46:12.440 --> 0:46:14.399
<v Speaker 1>and now you're doing another. There's a sequel coming out.

0:46:14.560 --> 0:46:17.759
<v Speaker 1>I believe it's part of a trilogy. It's number two

0:46:17.760 --> 0:46:21.360
<v Speaker 1>of a trilogy. Yeah, and I've gotta I gotta really

0:46:21.480 --> 0:46:24.160
<v Speaker 1>finished writing that thing. Yeah, get on it so that

0:46:24.280 --> 0:46:25.680
<v Speaker 1>I can have you back on and we can talk

0:46:25.719 --> 0:46:29.760
<v Speaker 1>about it again. Siege craft is different. Siege craft is very,

0:46:30.040 --> 0:46:35.000
<v Speaker 1>very different. Narrative challenge. I'm finally writing a the story

0:46:35.040 --> 0:46:37.799
<v Speaker 1>of a siege to the story of a campaign, a

0:46:37.840 --> 0:46:41.879
<v Speaker 1>military campaign. Is it's pretty easy? Like, oh, of course, yeah,

0:46:41.920 --> 0:46:44.840
<v Speaker 1>famously easy. All of us are thinking that. But what

0:46:45.000 --> 0:46:48.520
<v Speaker 1>you do, what you have built into it is narrative imperative.

0:46:48.760 --> 0:46:51.239
<v Speaker 1>It goes forward because the army is moving and all

0:46:51.239 --> 0:46:53.080
<v Speaker 1>you've got to well not all you've got to do.

0:46:53.160 --> 0:46:55.799
<v Speaker 1>But that the thing you've got to actually a thing

0:46:55.840 --> 0:46:58.040
<v Speaker 1>you've got to do with the battle campaign that's difficult

0:46:58.120 --> 0:47:00.080
<v Speaker 1>is not make it inevitable the way they go in,

0:47:00.360 --> 0:47:02.560
<v Speaker 1>and you've got to throw red herring after red herring

0:47:02.600 --> 0:47:04.799
<v Speaker 1>in and give them different diversion so that it's not

0:47:04.840 --> 0:47:06.440
<v Speaker 1>just that, well, they're on a train and the trains

0:47:06.440 --> 0:47:09.520
<v Speaker 1>go into the station. Stop them here. Yeah, the difference

0:47:09.520 --> 0:47:12.720
<v Speaker 1>of the siege is, man, this train isn't going anywhere

0:47:13.320 --> 0:47:15.720
<v Speaker 1>the Strangers station. It's going to be at the station

0:47:16.480 --> 0:47:20.000
<v Speaker 1>and delivering gets off. So it's very, very rich in

0:47:20.600 --> 0:47:25.440
<v Speaker 1>textural opportunity. Unless it a very teenage girl and a

0:47:25.520 --> 0:47:27.799
<v Speaker 1>horse who thinks she talks to God. It shows up.

0:47:28.040 --> 0:47:30.040
<v Speaker 1>That's good for your siege. You know that you said

0:47:30.080 --> 0:47:33.160
<v Speaker 1>about the trol with Calli's trouble with Keli. The trouble

0:47:33.600 --> 0:47:37.200
<v Speaker 1>is it's not or Lane no true what you do

0:47:37.280 --> 0:47:40.319
<v Speaker 1>have just in the same way, Elier, you've got Joan

0:47:40.400 --> 0:47:41.719
<v Speaker 1>of Arc and the White Horse and every you know

0:47:41.920 --> 0:47:44.480
<v Speaker 1>instantly when you say that, everyone knows what you're thinking

0:47:44.560 --> 0:47:47.719
<v Speaker 1>if they listen to this podcast. Anyway, I haven't done

0:47:47.719 --> 0:47:50.200
<v Speaker 1>a Joan of Arc episode, but I will. Well, you

0:47:50.239 --> 0:47:52.360
<v Speaker 1>gotta get Helen Caster to come and do it. She

0:47:52.520 --> 0:47:56.480
<v Speaker 1>is brilliant. Yeah, she's she's she's the best. Put that aside. Cali,

0:47:56.640 --> 0:48:00.160
<v Speaker 1>you have a very very very very very fam us

0:48:00.280 --> 0:48:03.200
<v Speaker 1>end to the siege. So if you've been to Calais,

0:48:03.480 --> 0:48:06.400
<v Speaker 1>there's a row down sculpture in Calais of the six

0:48:06.440 --> 0:48:09.840
<v Speaker 1>Burghers of Calais, and they're coming out with the nooses

0:48:09.840 --> 0:48:12.520
<v Speaker 1>around the next to offer their lives to Edward to

0:48:12.520 --> 0:48:15.000
<v Speaker 1>buy the freedom of everyone who's left in the city,

0:48:15.440 --> 0:48:20.240
<v Speaker 1>who's survived baiting, rats and horse leather and whatever, whatever, whatever.

0:48:20.760 --> 0:48:25.520
<v Speaker 1>And it's a really famous, really famous scene. And then

0:48:25.560 --> 0:48:27.600
<v Speaker 1>you have cause Edward says, no, you hang you all,

0:48:27.640 --> 0:48:30.040
<v Speaker 1>and his wife Siliver, oh please through that? Okay that

0:48:30.120 --> 0:48:32.200
<v Speaker 1>I won't. It's a bit more dramatic than that, more

0:48:32.200 --> 0:48:36.040
<v Speaker 1>paces in it than that impression suggested. But there are

0:48:36.120 --> 0:48:39.200
<v Speaker 1>things in Cali to write towards that. They're there from

0:48:39.200 --> 0:48:42.960
<v Speaker 1>the history, and so I've that's helpful. I love this.

0:48:43.040 --> 0:48:46.080
<v Speaker 1>I don't know anything about this. There's so much history, Dan,

0:48:46.840 --> 0:48:48.960
<v Speaker 1>That's the lesson of history, isn't it. There's there's tons

0:48:49.000 --> 0:48:51.040
<v Speaker 1>of it. Every time I think you've you've got to

0:48:51.080 --> 0:48:53.279
<v Speaker 1>handle on it there's some more comes along. I've been

0:48:53.320 --> 0:48:57.360
<v Speaker 1>reading nonstub history for a few years, doing this podcast constantly,

0:48:57.400 --> 0:48:59.440
<v Speaker 1>and I've never heard about these burgers coming out with

0:48:59.520 --> 0:49:03.480
<v Speaker 1>nooses or on their necks. The Rodance. Just doing google

0:49:03.520 --> 0:49:06.120
<v Speaker 1>the Rodan sculpture, because the Rodand sculpture, there's two of them.

0:49:06.120 --> 0:49:08.200
<v Speaker 1>There's another one, I think in London. Maybe I've not

0:49:08.239 --> 0:49:10.759
<v Speaker 1>long to make somewhere else. I made a couple of

0:49:10.760 --> 0:49:13.239
<v Speaker 1>films that like the Real History of Essence Dogs and

0:49:13.360 --> 0:49:15.680
<v Speaker 1>made them in the summer last year, and we went

0:49:15.719 --> 0:49:18.240
<v Speaker 1>to Calais and I said and looked at that Rodand sculpture,

0:49:18.440 --> 0:49:23.560
<v Speaker 1>and it's just I mean, obviously it's it's not fourteenth century,

0:49:23.560 --> 0:49:26.960
<v Speaker 1>it's Rodin, it's modern, but it's a sensational piece of

0:49:27.000 --> 0:49:29.800
<v Speaker 1>sculpture which each of these six Burgers has a different

0:49:29.840 --> 0:49:33.200
<v Speaker 1>form of grief conveyed by their mannerisms in their face,

0:49:33.239 --> 0:49:35.799
<v Speaker 1>and they are what's amazing about it is that he

0:49:35.840 --> 0:49:39.520
<v Speaker 1>has given them individual character. And when we think about

0:49:39.640 --> 0:49:42.560
<v Speaker 1>so many of these set pieces from medieval history, if

0:49:42.560 --> 0:49:45.520
<v Speaker 1>it's not the king or someone like near the level

0:49:45.520 --> 0:49:47.799
<v Speaker 1>of the King, or Joan of Arc or whatever, they're

0:49:47.840 --> 0:49:50.880
<v Speaker 1>just sort of generic noble or generic knight or generic

0:49:50.880 --> 0:49:54.319
<v Speaker 1>peasant or generic archer or whatever. And what road Down

0:49:54.440 --> 0:49:57.640
<v Speaker 1>does so brilliantly in that sculpture is say, these were

0:49:57.760 --> 0:50:02.680
<v Speaker 1>real people, each one individual at each with a different

0:50:02.719 --> 0:50:05.480
<v Speaker 1>reaction to this what we now see as a sort

0:50:05.520 --> 0:50:09.320
<v Speaker 1>of a fixed historical tableau. And row Down is in

0:50:09.400 --> 0:50:12.879
<v Speaker 1>a measurably greater artist than I will ever be, obviously,

0:50:13.520 --> 0:50:16.960
<v Speaker 1>but the I don't know, he never owned as sex dogs. Well,

0:50:17.280 --> 0:50:19.920
<v Speaker 1>but the aim is to capture some of that, is

0:50:19.960 --> 0:50:23.680
<v Speaker 1>to say, like an army of fifteen thousand is fifteen individuals,

0:50:23.800 --> 0:50:26.920
<v Speaker 1>and each one of them with their own take on

0:50:27.040 --> 0:50:30.160
<v Speaker 1>the thing that they're experiencing. And when we think of

0:50:30.360 --> 0:50:34.239
<v Speaker 1>medieval archer, yeah, okay, that's like that's a type. That's

0:50:34.239 --> 0:50:38.640
<v Speaker 1>somebody who shoots a pretty similar bow with a similar

0:50:38.680 --> 0:50:40.560
<v Speaker 1>arrow out of a similar bow and a similar place.

0:50:40.640 --> 0:50:44.359
<v Speaker 1>But each one of those people was an individual, and

0:50:44.360 --> 0:50:47.400
<v Speaker 1>and in the realm of fiction at least, that gives

0:50:47.400 --> 0:50:52.480
<v Speaker 1>you such rich opportunity to do things with the past

0:50:52.600 --> 0:50:55.719
<v Speaker 1>that nonfiction doesn't always allowed to do. So that's for

0:50:55.760 --> 0:51:02.359
<v Speaker 1>me why I've enjoyed my little gap here. Fiction brilliantly said,

0:51:02.640 --> 0:51:05.920
<v Speaker 1>A six dogs comes out in America February fourteen. I

0:51:05.920 --> 0:51:10.560
<v Speaker 1>believe makes a great balance and take the week before. Yeah,

0:51:10.600 --> 0:51:15.920
<v Speaker 1>it's it's a pregame to immortality. Are I'm I'm twenty eight,

0:51:16.000 --> 0:51:19.640
<v Speaker 1>two weeks before. It's okay, but plenty of time to

0:51:19.680 --> 0:51:24.040
<v Speaker 1>read it and get ready for immortality. Your February could

0:51:24.120 --> 0:51:28.600
<v Speaker 1>be sensationally good fiction wise, couldn't right? Get a good

0:51:28.640 --> 0:51:33.440
<v Speaker 1>Valentine's Day gift for the medieval history lover in your life. Yeah,

0:51:33.719 --> 0:51:38.439
<v Speaker 1>and then get a get book after that. Yeah, thank

0:51:38.480 --> 0:51:41.200
<v Speaker 1>you so much for joining me. Uh, clearly when you're

0:51:41.239 --> 0:51:45.359
<v Speaker 1>ready to go to bed. This is this is what

0:51:45.400 --> 0:51:49.520
<v Speaker 1>I planned. Fire sell roll from straight into vice slumber.

0:51:49.719 --> 0:51:51.680
<v Speaker 1>And next time I'm in London, will you take me

0:51:51.719 --> 0:51:54.160
<v Speaker 1>on another tour? Can we go do something? Yeah? What

0:51:54.239 --> 0:51:58.920
<v Speaker 1>you want to say? I'm coming this summer, are you? Yeah,

0:51:59.000 --> 0:52:01.360
<v Speaker 1>I'm leading at tore to Cornwall, but I'm going to

0:52:01.440 --> 0:52:03.480
<v Speaker 1>be in London for a bit. Okay. So we went

0:52:03.520 --> 0:52:05.839
<v Speaker 1>to Westminster Abbey last time, didn't we? Yeah? I got

0:52:05.880 --> 0:52:08.799
<v Speaker 1>a personal tour from Dan Jones in Westminster Abbey. Not

0:52:08.840 --> 0:52:11.319
<v Speaker 1>to brag, but it was. It was wonderful. We had

0:52:11.320 --> 0:52:13.680
<v Speaker 1>to queue up. I've never done that before. It was.

0:52:13.880 --> 0:52:16.200
<v Speaker 1>I know. He was like, he's like, you're on TV.

0:52:16.440 --> 0:52:19.560
<v Speaker 1>You don't have to wait line. Well, what don't we

0:52:19.560 --> 0:52:22.560
<v Speaker 1>go to the Tower of London. Done, I'm there, let's

0:52:22.560 --> 0:52:25.919
<v Speaker 1>do it. Tower of London is good. Yeah, we'll do that. Great.

0:52:25.920 --> 0:52:27.719
<v Speaker 1>I'll see you this summer, and I'll see you even

0:52:27.760 --> 0:52:30.280
<v Speaker 1>sooner because we're talking about your book again for your launch.

0:52:30.760 --> 0:52:32.480
<v Speaker 1>Oh and then I'm coming to l a al, I'm

0:52:32.520 --> 0:52:34.720
<v Speaker 1>coming to see Iggy Pop. You're going to get so tired.

0:52:35.200 --> 0:52:36.880
<v Speaker 1>I'll see you so much. This is good. I know,

0:52:37.200 --> 0:52:40.359
<v Speaker 1>this is fantastic. Great, order Dan's book. Dan, I'll see

0:52:40.360 --> 0:53:00.200
<v Speaker 1>you so soon. Noble Blood is a production of Art

0:53:00.320 --> 0:53:02.360
<v Speaker 1>Radio and Grimm and Mild from Aaron