In the holy city, murder is the ultimate sin …
By: Peter Tremayne
Peter Tremayne is the pen-name of the Irish Post columnist and historian Peter Berresford Ellis. The depth of his understanding of seventh century history is quite remarkable. As I read through his “Sister Fidelma” novels, I find myself not only thoroughly entertained from the twists and turns of a murder mystery, but also educated with the historical acuteness of the author. I usually walk away from one of his novels with a list of new vocabulary words to look up and research.
This brings me to how I was introduced to the writings of Tremayne: my growing fondness of the celtic church and early Anglican history. A friend of mine, a retired history professor, suggested the novels as a fun and quick way to begin to get more immersed with some of the dynamics of this time period.
All of my previous book previews have been limited to non-fiction books. The “Summary”, “Big Idea”, “Little Idea 1 & 2″, and “take away” headings seemed to work well within that genre, but will not translate well into previews of fiction novels, especially murder mysteries (think about it, “the big idea” = ___ is actually the murderer” – would totally ruin the story). Therefore, I will be more brief and selective of the quotes and will list the major themes that bleed through in the narrative.
“Has this Ronan Ragallach admitted that he killed Wighard?”
“No.” Gelasius was dismissive. “But the evidence against him is overwhelming.”
“So you want to be able to announce that this crime was resolved by Eadulf of Canterbury and Fidelma of Kildare agreeing in unison in order to prevent a possible conflict arising?”
The plot is at first glance simple: there was a murder of the future archbishop of Canterbury in 7th century Rome and a suspect is held in custody who was captured at the scene of the crime. Seems like a job for local law enforcement, an open and shut case. NOT SO!
In the Autumn of 664 A.D. when this story unfolds, there was a lot of tension between Rome, the Celtic Church, and Canterbury. Therefore, to avoid open conflict over the murder of the archbishop of Canterbury (and the theft of his valuables), the authorities of the Lateran Palace call into action Sister Fidelma of Kildare and her friend Eadulf of Canterbury as investigators to discern the nature of the murder and the guilty parties. The story takes you through ancient Rome: the architecture, religion, and culture.
TAKE HOMES
- A thoughtful and well researched historical novel – As I alluded to earlier in this preview, Tremayne is a history scholar and it comes through in his writing. The Sister Fidelma novels make Dan Brown’s novels seem like those tabloid magazines you find at grocery check outs… entertaining, yes. accurate, not entirely. Tremayne’s novels will not only entertain you, they’ll educate you!
- Celtic Feminism – A constant theme bleeds through of how “liberated” or better put, “protected under Celtic law” women were in Celtic society. The protagonist of these novels, Sister Fidelma is a “sharp-witted, outspoken young religious, trained in criminal investigation in a land where women aspire to the same roles as men.” I found this discovery of the role of women in celtic society quite enlightening. The feminist narrative I hear often is that women weren’t liberated until the 1960s…or that they aren’t yet there. It would perhaps be a helpful case study (for us all) to look more into the role of celtic women in their society.
- Roman and Celtic Church Conflict - The need for brother Eadulf and sister Fidelma to undertake this investigation is to avoid conflict and potential bloodshed over the murder that took place at the Lateran Palace. All throughout the book there is thoughtful theological dialog between Eadulf (newly under Rome via Saxony) and Fidelma (Celtic Church) that personalized some of the differences between the two variants of the one holy catholic apostolic church of Christ.
- References to Islam - Since this second installment of the Sister Fidelma novels takes place in Rome, there are frequent references to the “followers of Mohmet” and their zealous militaristic expansion into Roman lands and their naval piracy. This even plays into the plot about halfway through the novel.



