The Spellbinders

by Aleardo Zanghellini published by Lethe Press. 3 stars

The Spellbinders is an historical novel set between 1299 and the early 1330s which spans the life (and some) of Edward II, King of England and his loves. Penned by Eleardo Zanghellini in 2018, an Italian born professor of Law and Social Theory at Reading Law School, this is his first novel although he has previously written The Sexual Constitution of Political Authority.

It is a quick read, broken into short sections which move back and forth in time, and there is a large cast with a broad setting which includes the vales of Scotland. Curly flourishes head all 334 pages with the name of the author on every left one – The Spellbinders is perhaps hinting at the design of the Renaissance manuscript.

The monarch Edward, who came to the throne at the tender age of 22, is renowned as ‘England’s most infamous homosexual prince’ (Lethe Press). Despite his marriage to Isabella of France aged 12 years, the book’s joint hero is actually Piers Gaveston, common soldier from across the Channel, whom Edward made second most important gent in the land.

As we have come to expect from the bulk of the factual information surviving from those Medieval times, there is a great deal of political debate between Earls and other men jostling for power. However, taking equal place in the narrative are the erotic exploits of Edward, Piers and, after the latter’s violent murder, those of Lord Audley and Hugh Damory the Young Dispenser. We do learn about the naive and accepting Isabella; Margaret the very practical King’s cousin who was married to Gaveston; of Pembroke and Lancaster, but it’s the graphic sex which takes centre stage.

Apparently as true to real life as possible, Zanghellini, in the tradition of historical writers, imagines the unknown details and pens them with relish, introducing a useful hidden corridor and other devices to link the famous events and add atmosphere. He relishes physical description (“the Younger Dispenser: fiery-haired and good-looking in a base, brutish sort of way – which meant not good-looking at all, really.” ) and there is a seer with a curse as well as the ghost of a monk with self-professed “woman’s hands” who stitches Gaveston’s head back on and embalms him. He has clearly researched the flora, costume and typical pets of the day, with many a gilly flower, and phrases such as “a mohair cape about her shoulders” and, “‘a camel’, gasped Isabella. ‘What’s to love about a camel, dear husband?'”

This is oerhaps a book for reading on the train or by the poolside.

Pitzhanger Manor

Pitzhanger Manor, also with Soane’s Kitchen (restaurant and bistro), events, shop and park. Currently showing Anish Kapoor. March 2019

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Pitzhanger Manor, Ealing, London (official photograph)

 

There is a playful air in the central gallery where Contemporary Art meets Hall of Mirrors. Like little children at the funfair we want to touch the shiny surfaces and test what is real and what is not.

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Anish Kapoor, opening exhibition, Pitzhanger Manor, London (official photograph)

Disorientated, I wonder where I am, what my relationship is to the space and the other people around me. Sparsely placed in a white box of a room, these apparently simple, shiny cubes and discs shimmer and float. They distort and shift reality so much that I question gravity itself

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Art mimics architecture

Transported through portals, doors beyond doors, the floor extends out of the window. The central tardis-shaped work beguiles and bemuses. Although my feet are firmly planted on the floor, I get the feeling that I am teetering on the edge of a cliff.

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I was not the first to want to put my head in this hole!

Looking somewhat like a front loading washing machine, we peer in. All unsuspecting we find we are spun around, divided into segmented slices, ending up all topsy turvy and stained in primary colours.

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Right side up in silver; heads down in rainbow coloured contact lenses

Leaving this rabbit hole world I explore the rest of the house. The sun shines through the amber and Derek Jarman blue stained glass, making patterns and further playing with what is real and what not.

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Unexpected doorways; spines of puce.

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Trellises on the ceiling; walls of scarlet glimpsed through mirrors

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Monasterial archways; a vestibule of make-believe marble; Classical columns, charyatids and statuary.

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Unexpected urns and hand-painted aviaries delight me and I spend a happy afternoon in this fascinating place.

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Roof scape, Pitzhanger Manor

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The Upper Drawing Room, Pitzhanger Manor

Sir John Soane’s Museum, London This was his main residence and is now a museum containing some of the furniture and artefacts from Pitzhanger – well worth visiting.

To get what the Pitzhanger Manor curators have done in collaboration with Kapoor, you should imaginatively travel to Soane’s self-built London home in Lincoln’s Inn Fields, with his collection of antiquities and artworks.

The London Evening Standard newspaper

5 stars in The Telegraph

5 stars Timeout, London

4 stars The London Evening Standard

Double page spread in The Times

Pitzhanger Manor & Gallery can be found in Ealing – Mattock Lane, London, W5 5EQ.