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eososray's review against another edition
4.0
I found it a pity that I couldn't give this book a 5 star, especially as it is the last of the full length books of one of my favorite characters.
I thought it lost something in leaving the familiar settings of Shrewsbury and the Welsh borderlands.
Still, it was Cadfael and it was a great conclusion to a fabulous series.
I thought it lost something in leaving the familiar settings of Shrewsbury and the Welsh borderlands.
Still, it was Cadfael and it was a great conclusion to a fabulous series.
tsenko2's review against another edition
5.0
Thoroughly enjoyable. I’ve read a few others, but need to read more of the series.
blueskygreentreesyellowsun's review against another edition
5.0
Did I know who did it and who would be framed before the body was even discovered? Yep. Did that take away the pleasure of the book? Not a bit.
readmore's review against another edition
adventurous
emotional
hopeful
reflective
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.5
tamara_joy's review against another edition
adventurous
tense
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
3.75
Not a whodunnit like the other Cadfael books; more of an adventure story. Really gets going about 2/3 of the way in. Lots of history, beautiful descriptions of nature, clothing, castles.
Content Warnings
Graphic: War
Minor: Death, Murder, Fire/Fire injury, and Injury/Injury detail
marilynsaul's review against another edition
5.0
2019 review: This last-of-the-series book interested me the least. There was just entirely too much focus on all of the myriad parties involved in the conference to hash out some sort of peace between Maud and Stephen.
2021 review: Oh, my! How could I NOT have loved this book back in 2019??? I just re-read the entire series in order, which I'd not done in 2019, and I must say it's a MUST! One gets so vested in certain characters and events when this series is read in order! And Olivier!!! This book was a fitting end to the Cadfael series and published a year before we lost the author. Easily my FAVORITE of the series!!
2021 review: Oh, my! How could I NOT have loved this book back in 2019??? I just re-read the entire series in order, which I'd not done in 2019, and I must say it's a MUST! One gets so vested in certain characters and events when this series is read in order! And Olivier
sterlingreads's review against another edition
adventurous
reflective
relaxing
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Flaws of characters a main focus? It's complicated
4.5
bookcraft's review against another edition
5.0
I really love the whole Olivier storyline that runs through multiple books, so I'm going to have to read the ebook of this one for all the things left out of the abridged audiobook.
cleheny's review against another edition
4.0
This is Peters at her best (with one glaring exception), and it is a moving finale to Cadfael's story.
Here, Cadfael becomes apostate as he searches for his son Olivier, who was taken prisoner after his garrison's captains changed sides. Although other captives were identified, no one knows who holds Olivier and where. In the course of his search, Cadfael comes across old friends, such as Yves Hugonin, and meets new historical personages, such as Philip of Gloucester.
Philip was the younger son of the Empress' chief supporter and half-brother, Earl Robert of Gloucester. For several years, Philip commanded on behalf of the Empress until, about 6 years into the civil war, he switched sides and gave over a couple of castles to Stephen. History doesn't tell us why he did that, so Peters gives him a reason, and it's not a bad one.
Peter's Philip is a complex character who is too intelligent not to see and acknowledge all the grey between Stephen's black and Maud's white, and he feels deeply--both love and resentment. He struggles to find his purpose, and to reconcile his feelings towards his family. His exchanges with Cadfael are effective and, often, moving. Cadfael's steadfast and unselfish commitment to his son's welfare provokes Philip to poignantly reflect on his relationship with his father.
Cadfael's and Olivier's eventual meeting is also moving. Olivier remains the pure and perfect knight, but this time, contrasted with Philip's more complex personality, his character--while noble and good-hearted--is a bit diminished. There is no question that Cadfael loves his son and delights in him, but Cadfael's and Olivier's conversations throughout the books are never as meaningful or deep as Cadfael's with Philip's. Olivier is the son of Cadfael's loins and heart, but Philip is the son of Cadfael's mind. Not as generous or tolerant of human failings as Cadfael, but as intelligent and able to (at least intellectually) accept human differences, failings, and contradictions.
The other key theme of this final novel is Cadfael's devotion to his abbey. It's not that the earlier mysteries depicted him as impatient or disenchanted with the monastic life, but Cadfael welcomed the chance to break free from the Rule in small doses to interact with the larger world and be active in it. Now, having chosen to go without leave to find Olivier, Cadfael is forced to confront what it means for him to fully break the Rule. Although his resolve doesn't waver, it is clear that the cost is great and, perhaps, greater than Cadfael could bear. The final scene at the abbey church is lovely in its simplicity.
The glaring exception is Peters' depiction of the Empress Maud/Matilda. It is difficult to construct Matilda's character from the historical record; she appears to have been perceived as proud, but that might only have meant that she was more assertive and strong-willed than the average woman. Sexual stereotyping biases are still powerful today, and, in medieval times, when women were not supposed to hold public roles, one can only imagine how brutal the judgments were against women who stood out by seeking political prominence.
Throughout the novels, Peters suggests that Maud is haughty, quick to blame others, and unable to see her own faults. In this final book, Maud is so vicious and vindictive that she is willing to take actions that will alienate many of her followers, all because she has been slighted by someone changing his allegiance. Stephen, on the other hand, is routinely praised in all of the books as genial and chivalrous; his besetting sins are laziness and a lack of follow-through.
But it was Stephen who killed over 90 captives when he took the Shrewsbury garrison (a key historical development that plays a central role in One Corpse Too Many). And it was Stephen who would, on occasion, call nobles and churchman to his court and then imprison them, forcing them to turn over significant lands and money as payment for their freedom. Peters fails to mention these acts in her Cadfael series, instead leading the reader to believe that Stephen was really a nice guy and the kinder, fairer leader.
Authors are entitled to pick sides, of course, but distorting historical personages and the historical record for the sake of an easy villain is weak writing. Particularly when contrasted with the nuanced portrait Peters makes of Philip of Gloucester.
Here, Cadfael becomes apostate as he searches for his son Olivier, who was taken prisoner after his garrison's captains changed sides. Although other captives were identified, no one knows who holds Olivier and where. In the course of his search, Cadfael comes across old friends, such as Yves Hugonin, and meets new historical personages, such as Philip of Gloucester.
Philip was the younger son of the Empress' chief supporter and half-brother, Earl Robert of Gloucester. For several years, Philip commanded on behalf of the Empress until, about 6 years into the civil war, he switched sides and gave over a couple of castles to Stephen. History doesn't tell us why he did that, so Peters gives him a reason, and it's not a bad one.
Spoiler
Philip sees that no one is going to win this war, and the country and people will continue to suffer as battles are fought. Under the circumstances, he believes the only way out is for one side to win, and Stephen had been getting the better of things for a while, so he throws his support to the king. Ulimately, he becomes disillusioned; he realizes that his decision didn't make a difference, and king and Empress are still committed to the other's destruction, not the future of the country.Peter's Philip is a complex character who is too intelligent not to see and acknowledge all the grey between Stephen's black and Maud's white, and he feels deeply--both love and resentment. He struggles to find his purpose, and to reconcile his feelings towards his family. His exchanges with Cadfael are effective and, often, moving. Cadfael's steadfast and unselfish commitment to his son's welfare provokes Philip to poignantly reflect on his relationship with his father.
Cadfael's and Olivier's eventual meeting is also moving. Olivier remains the pure and perfect knight, but this time, contrasted with Philip's more complex personality, his character--while noble and good-hearted--is a bit diminished. There is no question that Cadfael loves his son and delights in him, but Cadfael's and Olivier's conversations throughout the books are never as meaningful or deep as Cadfael's with Philip's. Olivier is the son of Cadfael's loins and heart, but Philip is the son of Cadfael's mind. Not as generous or tolerant of human failings as Cadfael, but as intelligent and able to (at least intellectually) accept human differences, failings, and contradictions.
The other key theme of this final novel is Cadfael's devotion to his abbey. It's not that the earlier mysteries depicted him as impatient or disenchanted with the monastic life, but Cadfael welcomed the chance to break free from the Rule in small doses to interact with the larger world and be active in it. Now, having chosen to go without leave to find Olivier, Cadfael is forced to confront what it means for him to fully break the Rule. Although his resolve doesn't waver, it is clear that the cost is great and, perhaps, greater than Cadfael could bear. The final scene at the abbey church is lovely in its simplicity.
The glaring exception is Peters' depiction of the Empress Maud/Matilda. It is difficult to construct Matilda's character from the historical record; she appears to have been perceived as proud, but that might only have meant that she was more assertive and strong-willed than the average woman. Sexual stereotyping biases are still powerful today, and, in medieval times, when women were not supposed to hold public roles, one can only imagine how brutal the judgments were against women who stood out by seeking political prominence.
Throughout the novels, Peters suggests that Maud is haughty, quick to blame others, and unable to see her own faults. In this final book, Maud is so vicious and vindictive that she is willing to take actions that will alienate many of her followers, all because she has been slighted by someone changing his allegiance. Stephen, on the other hand, is routinely praised in all of the books as genial and chivalrous; his besetting sins are laziness and a lack of follow-through.
But it was Stephen who killed over 90 captives when he took the Shrewsbury garrison (a key historical development that plays a central role in One Corpse Too Many). And it was Stephen who would, on occasion, call nobles and churchman to his court and then imprison them, forcing them to turn over significant lands and money as payment for their freedom. Peters fails to mention these acts in her Cadfael series, instead leading the reader to believe that Stephen was really a nice guy and the kinder, fairer leader.
Authors are entitled to pick sides, of course, but distorting historical personages and the historical record for the sake of an easy villain is weak writing. Particularly when contrasted with the nuanced portrait Peters makes of Philip of Gloucester.