#Adult #FairyTale #Fantasy #Historial #Retelling #Romonace
Maiden Tomb
Cynthia Sally Haggard
(Twelve Cursed Maidens, #1)
Publication date: February 5th 2025
Genres: Adult, Fairy Tales, Fantasy, Historical, Retelling, Romance
Follow twelve princesses down a dark tunnel into a grove of jeweled trees to a too-placid lake, where a prince will row you across to a gleaming castle to dance the night away. This historical fantasy—a retelling of the Twelve Dancing Princesses folktale—drifts backwards in time from the Early Middle Ages of Sicily to the Bronze Age of the Trojan War. It is perfect for fans of Circe and Spinning Silver.
Sixteen-year-old Justice wants to release her sisters from the jaws of Father’s imprisonment. But what can she do? The easiest way would be to find suitors for them.
However, that is not so easy, for Justice’s elder sisters are strange. What with All-Gifted’s madness, Protectress’s hair writhing with snakes, Death-Bringer’s grief (not to mention her strange name), Shining’s scandalous doings, Maiden’s tart tongue, Shadow’s crippling shyness, no sensible man would want her sisters as wives. Which leaves Justice, the seventh daughter, the one who possesses a quiet authority.
Maiden Tomb, Book One of the Twelve Cursed Maidens series, is a clean enemies-to-lovers romance.
The original fairytale—about twelve young ladies dancing all night—sounds so jolly doesn’t it? But I don’t think Twelve Dancing Princesses is about dancing at all.
I think it is about death.
Why do I think that? Well there appear to be some elements to the tale that go back, way back, hundreds, no, thousands of years, back into the Ancient World.
First of all, being rowed across a body of water sounds like a thread of Greek Mythology found its way into this tale. It is very reminiscent of Charon the boatman rowing the souls of the newly dead across the River Styx.
Then there are those jeweled trees. Where do they come from? Several scholars believe that element of the story comes from the Tale of Gilgamesh, which may have been originally composed around 1800 BCE. It tells the story of Gilgamesh, a King of Uruk a city-state in Sumeria, who is grieving for the death of his best friend. According to scholars, Gilgamesh ruled the Kingdom of Uruk in around 2700 BCE.
Then there are the princesses themselves. Have you ever wondered why their are twelve princesses? Again, the answer points towards the ancient kingdom of Sumeria, which existed in what is now present day Iraq, beginning in around 6,000 BCE. The Sumerians were renowned astronomers who used a base-12 numerical system, unlike the base-10 or decimal system we use today.
And so, there you have it. When you dig below the surface, a charming story from Europe has roots in the Middle East and seems to be thousands of years old!
And so, when I came to write Maiden Tomb, a piece of women’s fiction that explores the all-too-often captivity of women, I put back all those elements. We have the Gilgamesh epic, and elements of Greek Mythology, complete with snakes, ancient gods, and powerful goddesses. And far from being a jolly novel about young people dancing, as the title suggests, I made it a book about death.
I hope you find this coming-of-age novella as enjoyable to read as I found it fascinating to write.
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EXCERPT:
In the past week or so since we’ve arrived, life has taken on a predictable rhythm. I spend the mornings entertaining the ladies of the castle, with the lyre, my singing, playing knucklebones, and listening to their gossip. Truth to tell, nothing they say is particularly interesting as high-born ladies spend their time inside. When they are not diverting themselves with such pastimes as I provide, they are spinning, weaving, running the household, and caring for their children. They talk incessantly about their children. They know little of the outside world.
I escape after the midday meal, taking advantage of the ladies’ habit of resting as the sun’s chariot crests at the highest point of the day. While they sleep, I head out into the scorching countryside looking for Father.
We sit together in the shade, while Father does some task, usually repairing something, while I tell him everything I’ve learned the evening before. It is not that hard. Because I am small, and people are now familiar with my face, no one pays me any mind as I take my seat at the bench that runs along the side of the huge table where all the working folk of the castle eat their meals.
Father has told me never to be inquisitive, but I am dying to know more about the twelve mysterious ladies locked up in the castle tower, the ones people whisper about behind their hands when they think no-one is noticing.
As the light of the sun drains from the sky, as the king’s men sink lower onto wooden benches eating dish after dish, quail, pheasant, peacock, duck, eggs, bread, olive oil, wine, and olives, the noise of seven hundred men sharing jokes, laughing, and swilling wine reverberates around the hall.
Finally, I can take it no more.”Is it true what they say about the King’s daughters?”
The grizzled stranger on the bench next to me wipes the grease off his mouth with the back of a hand and spits out an olive pit.
“Where’ve you popped up from? You shouldn’t be here. You’re only a young lad.”
I am used to these remarks. After I left home I took a ship that was blown off course, taking me west to the land of the Italoi. I had to beg for money in the streets and in the taverns and it was not long before I heard news of Father, who was sailing to the west of this land.
And so I made my way across steep mountains before coming down to a lush plain. Playing my lyre to entertain strangers I followed their directions to the sea, to a wide bay within sight of a simmering, high, conical-shaped mountain.
And there, in a tavern, I met Father.
Now we are traveling home together. But Father is not here on the bench beside me, as he should be, but outside at a nearby farm pretending to be a stable hand.
This is one of Father’s clever strategies. He is a master at extracting information. He calls his strategy “divide and conquer” and it means that I have to use my lyre to find a berth for the night in some local chieftain’s house. This is not usually difficult, especially if there are ladies around because for some reason they always want to pet me.
Meanwhile, Father finds work on the outside as a shepherd, farmhand, or stable boy. By concealing his origins and pretending to be dumb, drunk, or both, Father is able to overhear a great many things. We have a plan to meet every day at noon, I escaping the blandishments of the ladies to visit the local farm for milk, cheese, eggs where I could happen upon the new stable boy, farmhand, or shepherd.
The only fly in the ointment is my age. I am only twelve years old and to my great annoyance, I look it. So Father made me memorize some phrases to offer when this issue arises.
“Father is here with me, but is suffering with an ache to his belly.”
One sentence is usually enough for most people. Father has instructed me never to offer explanations that are not asked for as it only makes people more curious.
But the fellow is staring at me, waiting for more.
I turn my eyes down. “Father told me to eat supper and then berth with him in the stable yard.”
“He’s the new stable hand, is he?”
I nod.
“Much good he’ll be with a bellyache.”
I look up. “Do you have a remedy for that good sir?”
Father always stresses the importance of asking for advice when a conversation turns sour, as it flatters the vanity.
The fellow hawks and spits, rising from his seat. “You’ll have to go to the kitchens for that, son.” He ambles off.
Author Bio:
Cynthia Sally Haggard was born and reared in Surrey, England. About 40 years ago, she surfaced in the United States, inhabiting the Mid-Atlantic region as she wound her way through four careers: violinist, cognitive scientist, medical writer, and novelist.
Her first novel, Thwarted Queen, a saga set in 1400s England with a Game of Thrones vibe, won the 2021 Gold Medal IPPY Award for Audiobook. Her second novel, Farewell My Life, a dark historical about a hidden murderer, won the 2021 Independent Press Award for Women’s Fiction and was the 2019 Distinguished Favorite for the New York City Big Book Award.
Cynthia graduated with an MFA in Creative Writing from Lesley University, Cambridge MA, in June 2015.
When she’s not annoying everyone by insisting her fictional characters are more real than they are, Cynthia likes to go for long walks, knit something glamorous, cook in her wonderful kitchen, and play the piano.
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