THE LOST BOOKS

Tudor-era sweethearts gather a crew of “Holy Pirates” to push back on tax corruption and retrieve stolen monastery treasures in Conlan’s romantic historical adventure novel.

Morwenna Goodwin, who’s 19 and “now of wife age,” receives courtship gifts from her childhood pal Henry Truelove, the 20-year-old son of a family wealthier than hers, residing in Truelove Manor near her family’s small freehold farm. Morwenna puts the gifts—which begin with a partridge in a pear tree and proceed as in the anachronistic song “The Twelve Days of Christmas”—to practical use. She uses some of the bounty to hire former monk Tom to teach her how to write and learn about equitable marriage contracts. Henry, who’s been away at court, returns home after learning that his father is facing ruinous taxes; he brings eight milkmaids along with him. Daisy, one of them, becomes a servant in nearby Blount Hall, helping to expose and resolve the misdeeds of the tax collector and his oafish son. Blount servant James, a former monastery student, shows Tom a bejeweled holy book given to him for safekeeping after monasteries were disbanded under Tudor rule. A former abbot also arises, having stashed a cache of books and other stolen treasure in the area. All’s well by novel’s end thanks to a festival play created by the town’s wealthy sisters that results in several marriages and an opportunity for the main couple and their band of “Holy Pirates” to spirit away the books to a protected new home. In this amusing, action-packed tale, Conlan effectively combines the loving parody of William Goldman’s classic The Princess Bride (1973) with the feminism of Karen Cushman’s Catherine, Called Birdy (1994). It encompasses a colorful cavalcade of characters, who also include an actual ex-pirate; a formerly enslaved sailor; and displaced nuns, one of whom was once a pirate hostage. Many of these characters get to express snarky social criticism during their adventures, including Tom, who notes that church officials are “sneaky and venomous as snakes, and ever changing what be true and what heresy.”

An exuberant fairy-tale homage with sly commentary about gender, class, church, and state.