When Mary Boleyn comes to court as an innocent girl of fourteen, she catches the eye of the handsome and charming Henry VIII. Dazzled by the king, Mary falls in love with both her golden prince and her growing role as unofficial queen. However, she soon realizes just how much she is a pawn in her family’s ambitious plots as the king’s interest begins to wane, and soon she is forced to step aside for her best friend and rival: her sister, Anne. With her own destiny suddenly unknown, Mary realizes that she must defy her family and take fate into her own hands.
With more than one million copies in print and adapted for the big screen, The Other Boleyn Girl is a riveting historical drama. It brings to light a woman of extraordinary determination and desire who lived at the heart of the most exciting and glamorous court in Europe, and survived a treacherous political landscape by following her heart.
About the Author
Ruthie Henshall has appeared on Broadway in Chicago, Putting It Together, and Miss Saigon. She has also starred in numerous West End of London productions including Chicago, Crazy For You, She Loves Me (Olivier Award) and Les Miserables.
Date of Birth:January 9, 1954
Place of Birth:Nairobi, Kenya, East Africa
Education:B.A. in history, Sussex University, 1982; Ph.D., 18th-century popular fiction, Edinburgh, 1984
Read an Excerpt
The Other Boleyn Girl
By Philippa Gregory
TouchstoneCopyright © 2001 Philippa Gregory Ltd.
All right reserved.
Chapter OneSpring 1521
I could hear a roll of muffled drums. But I could see nothing but the lacing on the bodice of the lady standing in front of me, blocking my view of the scaffold. I had been at this court for more than a year and attended hundreds of festivities; but never before one like this.
By stepping to one side a little and craning my neck, I could see the condemned man, accompanied by his priest, walk slowly from the Tower toward the green where the wooden platform was waiting, the block of wood placed center stage, the executioner dressed all ready for work in his shirtsleeves with a black hood over his head. It looked more like a masque than a real event, and I watched it as if it were a court entertainment. The king, seated on his throne, looked distracted, as if he was running through his speech of forgiveness in his head. Behind him stood my husband of one year, William Carey, my brother, George, and my father, Sir Thomas Boleyn, all looking grave. I wriggled my toes inside my silk slippers and wished the king would hurry up and grant clemency so that we could all go to breakfast. I was only thirteen years old, I was always hungry.
The Duke of Buckinghamshire, far away on the scaffold, put off his thick coat. He was close enough kin for me to call him uncle. He had come to my wedding and given me a gilt bracelet. My father told me that he had offended the king a dozen ways: he had royal blood in his veins and he kept too large a retinue of armed men for the comfort of a king not yet wholly secure on his throne; worst of all he was supposed to have said that the king had no son and heir now, could get no son and heir, and that he would likely die without a son to succeed him to the throne.
Such a thought must not be said out loud. The king, the court, the whole country knew that a boy must be born to the queen, and born soon. To suggest otherwise was to take the first step on the path that led to the wooden steps of the scaffold which the duke, my uncle, now climbed, firmly and without fear. A good courtier never refers to any unpalatable truths. The life of a court should always be merry.
Uncle Stafford came to the front of the stage to say his final words. I was too far from him to hear, and in any case I was watching the king, waiting for his cue to step forward and offer the royal pardon. This man standing on the scaffold, in the sunlight of the early morning, had been the king's partner at tennis, his rival on the jousting field, his friend at a hundred bouts of drinking and gambling, they had been comrades since the king was a boy. The king was teaching him a lesson, a powerful public lesson, and then he would forgive him and we could all go to breakfast.
The little faraway figure turned to his confessor. He bowed his head for a blessing and kissed the rosary. He knelt before the block and clasped it in both hands. I wondered what it must be like, to put one's cheek to the smooth waxed wood, to smell the warm wind coming off the river, to hear, overhead, the cry of seagulls. Even knowing as he did that this was a masque and not the real thing, it must be odd for Uncle to put his head down and know that the executioner was standing behind.
The executioner raised his ax. I looked toward the king. He was leaving his intervention very late. I glanced back at the stage. My uncle, head down, flung wide his arms, a sign of his consent, the signal that the ax could fall. I looked back to the king, he must rise to his feet now. But he still sat, his handsome face grim. And while I was still looking toward him there was another roll of drums, suddenly silenced, and then the thud of the ax, first once, then again and a third time: a sound as domestic as chopping wood. Disbelievingly, I saw the head of my uncle bounce into the straw and a scarlet gush of blood from the strangely stumpy neck. The black-hooded axman put the great stained ax to one side and lifted the head by the thick curly hair, so that we could all see the strange mask-like thing: black with the blindfold from forehead to nose, and the teeth bared in a last defiant grin.
The king rose slowly from his seat and I thought, childishly, "Dear God, how awfully embarrassing this is going to be. He has left it too late. It has all gone wrong. He forgot to speak in time."
But I was wrong. He did not leave it too late, he did not forget. He wanted my uncle to die before the court so that everybody might know that there was only one king, and that was Henry. There could be only one king, and that was Henry. And there would be a son born to this king - and even to suggest otherwise meant a shameful death.
The court returned quietly to Westminster Palace in three barges, rowed up the river. The men on the riverbank pulled off their hats and kneeled as the royal barge went swiftly past with a flurry of pennants and a glimpse of rich cloth. I was in the second barge with the ladies of the court, the queen's barge. My mother was seated near me. In a rare moment of interest she glanced at me and remarked, "You're very pale, Mary, are you feeling sick?"
"I didn't think he would be executed," I said. "I thought the king would forgive him."
My mother leaned forward so that her mouth was at my ear and no one could have heard us over the creaking of the boat and the beat of the rowers' drum. "Then you are a fool," she said shortly. "And a fool to remark it. Watch and learn, Mary. There is no room for mistakes at court."
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Reading Group Guide
Reading Group Guide for The Other Boleyn Girl
1. Why does Philippa Gregory choose Mary to narrate the story? Keeping in mind the relationship between the observer and those observed, is Mary a good, trustworthy, narrator? As Mary ages, how is her loss of innocence reflected in her telling of the story?
2. Look at the exchange between Mary and her mother at the end of the first chapter. How does the author foreshadow what is to come? How do the events of the first chapter frame the entire story?
3. Discuss the Boleyn family's scheming and jockeying for favor in the court. In light of these politics, discuss the significance of Mary's explanation that she had "a talent for loving [the king]" (page 119). Is this simply a girl's fantasy? Why does Mary call herself and George "a pair of pleasant snakes" (page 131)?
4. On page 29, Mary professes her love and admiration for Queen Katherine and feels she can't betray her. In what ways are her honorable ideals compromised as she embarks on her adulterous affair with the king? Recount the whirlwind of events preceding Anne's becoming queen. Reading page 352, do you agree that "from start to finish" Mary "had no choice" but to betray Queen Katherine by taking the queen's letter to her uncle?
5. Consider pages 38 and 82. How does the author create sexual tension? How do the narrator's thoughts and feelings communicate the attraction between her and the king? Why is this important to the story of The Other Boleyn Girl?
6. On page 85, Anne tells Mary, "I am happy for the family. I hardly ever think about you." Do you think she's telling the truth? Later, Anne says to her sister, "We'll always be nothing to our family" (page 310). Do you think she believes this, especially given her overwhelming desire to advance her own status?
7. Why does Mary say, "I felt like a parcel..." (page 60)? What happens later to make Mary think she's no longer a "pawn" of the family, but "at the very least, a castle, a player in the game" (page 173)?
8. Look at the exchange between Mary and Anne about the king on page 72. Do you agree with Anne when she tells Mary that "you can't desire [the king] like an ordinary man and forget the crown on his head." What does this statement reveal about Anne's nature? And what does it reveal about Mary's?
9. In general, what are your impressions of the sisters? Keep in mind Anne and Mary's discussion on page 104: "So who would come after me?...I could make my own way." Also look at page 123, when Anne says, "Hear this, Mary...I will kill you." Why are these statements significant, particularly given their timing?
10. Share some of the characteristics that you like about historical fiction. For you, what aspect of The Other Boleyn Girl stands out the most? How does the book change your impressions of life in King Henry VIII's court? Looking at the letter on page 275, discuss the level of corruption in the court. Does it surprise you? Were you aware of Anne's dogged and exhausting pursuit of the king? Did the way Anne became queen shock you?
11. How do you feel about the idea that a woman had to be married before she could bed the king? What do you think about the king changing the laws to suit his needs? When Anne states that "Nothing will ever be the same for any woman in this country again," examine why she could believe she would be exempt from the same treatment. In other words, why didn't she realize that "when she overthrew a queen that thereafter all queens would be unsteady" (page 519)? Do you think the family realized this but persevered anyway?
12. Discuss Mary's evolution of thinking from when she realizes that after Queen Katherine's departure, "from this time onward no wife...would be safe" with her later thought (on page 468) that "the triumph of Anne, the mistress who had become a wife, was an inspiration to every loose girl in the country." What does this say about Mary's state of mind? Is she being a reliable narrator here?
13. On page 303, George exclaims to Mary, "You cannot really want to be a nobody." Why is this such a revolutionary idea in Henry's court, and for the Boleyns in particular? What should the response have been to Mary's question to Anne (page 330) about the rewards of Anne's impending marriage to the king: "What is there for me?"
14. In King Henry's court, homosexuality was a crime. Why do you think George essentially flaunted his preference? What do you make of the intimate kiss between George and Anne that Mary witnessed? What is the impetus behind George and Anne's relationship? Discuss whether or not you believe that George slept with Anne so that she might have a son, and why.
15. Why do you think George declares that Anne is "the only Boleyn anyone will ever know or remember" (page 410)? Was that true for you before you read The Other Boleyn Girl? What about now?
16. After Anne is arrested, Mary pleads for her by saying, "We did nothing more than that was ordered. We only ever did as we were commanded. Is she to die for being an obedient daughter?" (page 650). What is your reaction to these arguments? Did Henry have no choice but to sentence her to death?