Gary: Welcome back to the Medieval Archives podcast, the
podcast for medieval news, history and entertainment. I'm
your host, Gary, a.k.a. the Archivist. In today's lesson,
we're talking about origin, myths and early medieval tales
of Britain, with Dr. Amy Jeffs and Amy's first book, Story Land.
She examines the origins of Britain from Noah's flood to the
Norman invasion. And there are some great stories to tell,
including the incredible story of Albina, who ruled Britain was
seduced by demons and gave birth to a race of giants. Her second
book, titled Wild Takes You on a Journey from Desolation to Hope,
through seven chapters of insightful reflection. She
retells stories from medieval texts with vivid description and
unique perspectives. Now, one of the standout elements of both
books are the illustrations which Amy created in the episode.
You'll find out how she created them and how the creation
process helped her through the lockdown quarantine period we
all dealt with. If you have any questions or comments or want to
suggest a topic for the show, send those over to podcast at
Medieval Archives XCOM. You can also leave us a message on the
voicemail line.
7207221066. You can find all the links to Story Land in Wild and
Amy's social media and the show notes at medieval archives dot
com slash 89. So let's get to the talk with Amy Jeffs and the
origins of Britain.
They were joined by a medievalist and art historian,
Dr. Amy Jeffs, who's the author of two books on Medieval Britain.
Thanks for being on the show, Amy.
Amy: Thank you so much for having me, Gary.
Gary: So your first book was Story Land, and that's the
Origin Myths of Britain. But before we get into that book,
what is your start in medieval history and how did you become a
medieval historian?
Amy: I always thought I'd go to art college. That was my kind of
dream growing up. But then somehow sort of a paints made 16
year old version of myself ended up going along to the open Days
of Oxford in Cambridge at my school with taking us on trips
to and I ended up sheltering from that. I think it was really
it was really hot. And I went into Blackwell's bookshop in
Oxford and out of curiosity picked up a book on old English,
and I sat down and started reading it and was just
entranced. And then the Cambridge Open day happened
quite soon after that and a Ph.D. student read me. I went
into the Department of Anglo-Saxon Norse and Celtic,
which is a subject, a very niche undergraduate course. They offer
that. So here in the UK, we we specialize very early on. We
don't kind of continue with a broad range of subjects and we
start university, we go straight in and, and there's a
particularly specialist course in Cambridge called Anglo-Saxon
Norse and Celtic, which is a little bit like classics for
Northwestern Europe. And I went into that department and sat
down with a Ph.D. student who read me a passage of Old Norse.
And again, I was just my imagination was just completely
ignited by this moment. And she was really cool. And I was like,
Oh, this is amazing. So anyway, I applied and got in and just
spent the most joyful two years studying old English language
and literature, Old Norse language and literature,
medieval Latin and a touch of medieval Welsh. Also. That was
they offered a wonderful course called Code Ecology and Paleo
Graffiti, which looked at the history of manuscript
construction and book history as well as the history of scripts.
And because it was in the Middle Ages, there was a very strict
hierarchy of scripts and what you could or couldn't use for
writing scripture and so on. And as that progressed, I became
more and more interested in manuscript illustration and
medieval art, and I started sitting in on lectures I didn't
actually have to go to in the art history department on early
medieval art and gone into inlaid jewellery and carved
Wales bone caskets and just loved it so much that I jumped
ship in my third year into art history, carried across much of
many things that I'd learned about language and literature
and medieval languages. I'd borrowed papers in old French
and middle English. It just it just kind of all came with me
into art history. And then I carried that on through to my
master's and my PhD, which moved up from the kind of early
medieval period into the 14th century, focusing on English
illuminated manuscripts. And in the at the same time, I did an
internship at the British Library on a digitisation
project for manuscripts dating 700 to 1100 or 1200, I think all
from England and France, and also digitizing pilgrims
souvenirs and medieval badges at the British Museum. So the
British Museum project really took me up to the Reformation.
So over the course of my studies, I, I was had the great joy of
covering literature, history, language, arts, as well as going
from the kind of fifth century, from late antiquity all the way
up to the Reformation. And that was that was just the most
wonderful adventure and has informed everything I've done
since. Even the washing up.
Gary: Was always nice as a teenager going into university.
Having someone that can inspire you or mentor you into the into
the field that you want to go to service. And I said, you found
that early on.
Amy: Yes, it's you. It's just a string of marvellous teachers
when you look back.
Gary: And so your book storyline, I think is the origin of
medieval Britain or I guess the origin of Britain in general.
Yes. Why did you pick the origin of Britain through myths to
write a book about?
Amy: My Ph.D. was on a 14th century English manuscript
written in Anglo-Norman French, the French that was being spoken
in England after the Norman Conquest in 1066. And it it was
all about where Britain had come from, its deep, deep, mythic
history, but written in a really engaging way. It was it was in a
verse form, so much more engaging than dense prose, and
it had illustrations on still has still exists. It has
illustrations on every double page spread which and they were
really kind of my supervisor at the time said looked like it'd
been illustrated in ketchup and mustard because it was a very
scurrilous kind of scurrilous, swift dynamic, slightly messy
illustrations. But they are that kind of movement to them and a
great deal of pace because there's so many of them. And so
I became interested in how the origins of Britain, these this
origin myth that was based on a 12th century text by Geoffrey of
Monmouth, of a big Latin prose text about where Britain had
come from, Britain for Norman readers. I was interested in how
that had been translated, abbreviated, illustrated in
order as I argued to educate a young the young chivalric
classes so people that were going to be going off and
fighting or marrying people who were going to be going off and
fighting. How these these stories kind of fired them up
about being English or being Christian and how text and image
did that. And so as I was writing up my thesis, I moved
out of Cambridge. I went to a town in Somerset where there
were a lot of artists, and I became interested in printmaking,
and I started producing a series of illustrations of this text by
Geoffrey of Monmouth of the Brute legend, as it's called,
and it's called The Great Legend, because it begins with this
character, Brutus, who's a refugee descended from refugee
Trajan's, who founded Rome. And he he's exiled, accidentally
killing his father, and he ends up receiving a prophecy from the
goddess Diana,
journeying where he tells him he's going to found a new Troy
and a race of kings in an island in the western Ocean way on the
edge of the world. So it's called the breach. After Brutus,
he then names this island, Britain after himself. And and
so I started illustrating it. And in the process of
illustrating it, I became convinced of or received some
helpful advice, telling me that these really were exciting
stories in and of themselves. That Brutus is prophecy from the
goddess Diana, his encounter with the giants that are
indigenous and the island of Britain, formerly known as
Albion here. The events that happen afterwards concerning the
subsequent legendary kings like King Lear and his daughter
Cordelia, like Arthur and his his counsellor Merlin will see
the king before him is the Pendragon and his brother
Aurelius. All of these stories were really fascinating because
of how they mapped on to modern day Britain and just because
they're great stories. So that's what the illustrations came from,
which was really the nucleus for the book. And actually I should
also say just for anyone just to introduce the book itself, how
those illustrations worked then was that they would they each
illustrate a fictional retelling of the medieval origin myth. So
I've then I've cherry picked myths about where Britain came
from, from a variety of sources, including Chronicles, but also
saints lives and romances. And I've retold them as fiction in
chronological order, starting from before Noah's Flood and
running all the way up to the conquest, the Norman Conquest of
England, which has implications for the whole of Britain, and
each fictional retelling story is followed by a non-fiction
commentary explaining how these myths were understood at the
time. So this is in the kind of in the high Middle Ages, as we
call it, and how that came to shape real political decision
making, real life wars, especially things like the
conflicts between England and Scotland, and how that therefore
came to shape the Britain that we know today. So it is an
argument against myths and the legend being Wimsey, it's saying
that these stories, whether or not they're perceived as history,
are very, very powerful and have political ramifications.
Gary: The medieval Britons, they looked at the myths from like
King Arthur and even farther back, and that's how they
governed and that's how they kind of lived their life or
tried to rule.
Amy: So it's really interesting. And to what extent these these
old stories are perceived as history, because I think the
broad brush strokes, yes, they they believed that somebody
called Arthur had range. They believed that kings like they
usurped King Vortigern, who comes before Arthur had reigned.
Some of the retellings go into far more detail than
maybe you can give retained any historical veracity. So
contemporary chroniclers would kind of argue amongst themselves
over what was or wasn't truth. But either way, those histories
were seen as a set of moral exemplar to guide contemporary
kings and barons and how to rule, but also they were just
inspiring. So you know the story of Arthur as it develops over
time. This this idea of the round table of the of the
knights who when they sit at that table, realize they love
each other so much, they will die for each other. That bond,
that bond between Arthur's barons was such a powerful idea
that it shaped politics. You say Edward the first. He has a round
table made for his his Tonys and kind of pageantry. And that's a
kind of battle of playing an end of that that does the same,
imitating Arthur and his celebrations with his knights.
And that's kind of playing at the Arthurian ideal. But then it
becomes even more solid when he finds the Order of the Garter in
the 1340s. And this is directly modelled on the Knights of the
Round Table in an order of barons and really the reigns
Before Edward the third had been characterised by baronial
disunity and especially the reign of his father. And so he
basically takes from literature this idea of the order of
knights and makes it happen with huge success.
Gary: Even back in the in the medieval times they knew of
their history, even if it was considered myth, they still
embraced it.
Amy: And it's also seeing history as something that is
embracing nostalgia as well. I think. I mean, we know of many,
I'm sure listeners can think of many contemporary politicians
who hearken back to the good old days in shaping the campaigns.
And so Edward the third, he is drawing on a massive collective
nostalgia for the days of Arthur and applying that to himself.
And so when he declares war on France and is seeking to expand
in English domains that's not seen as a new thing. Arthur had
conquered France. He go all the way to Rome. He had 30 crowns
under his feet. And so that is then presenting his contemporary
political ambition and his objectives as just a completion
of an old campaign that was cut short.
Gary: When you're going through all the medieval myths of the
origin, all the origin stories, did you find one that you
particularly enjoyed like a favorite one, or did they all
spark the same inspiration for you?
Amy: Yeah, I guess it depends what kind of hat you have on. I
really enjoyed the origin myths. What you right back at the
beginning of how the Britons where they came from. So that
having come from Brutus and Troy, the Scots, they had a story that
was a sort of reworking of much older Irish myths that the Scots
had had their roots in Ireland anyway, and so they kind of
reworked the story of how they had come from Egypt
with a an Egyptian princess called Soter, who was the
daughter of Rameses, the second who is famous for having
altercations with Moses. The stories of Brutus and Skater
came into play in a big way when during the wars of Scottish
independence and the reign of Edward, the first when he was
trying to claim Overlordship of Scotland, and if if listeners
want to find out the sort of nuts and bolts of that, then
I'll direct into the early chapters of story land so that
as a historian, I'm really fond of those stories that are really,
really interesting and really impactful politically. One of my
favorite stories is about the How Albion got its name. So
Albion is the name that Britain has before Brutus arrives, and
there's a 13th century or a 13th century sources that give a kind
of prequel to the Brutus legend and say he arrives this island
called Albion. He renamed it Brutus. How did Albion come to
bear his name? And it gives the story of a great king in Syria
to Assyrian King, who had a huge empire. And he also had 30
daughters. And the eldest of the daughters is called Albina, and
they're all married to his barons and hoping it becomes
jealous of the barons power over them and of her father's power.
And she convinces her sisters to agree to kill their husbands so
that they can seize the throne ultimately and rule Syria as
them as Queens. But the youngest of the sisters betrays the rest
of them and tells her husband and they're dragged before their
father, who punishes them by casting them adrift in a
rudderless boat and they end up getting swept up in a storm and
wrecking on the coast of an unknown uninhabited island. And
Albania jumps out of the boat, grabs a handful of sand and and
says, I'm claiming this. And later she gives it the name that
she she names herself queen with the agreement of her sisters of
this uninhabited island. And they they learn to live off the
land, which it takes. It's a poem, The medieval poem which
describes this, really emphasizes that their kind of
bushcraft as they are learning to set traps and catch deer and
fish and all of that. Ultimately, they get really good at it and
they are able to feed themselves very well and they've got the
run of the island and they're really fat and happy, but they
realize that they are lacking anyone to have sex with. And so
that and their collective desire kind of is felt. It sort of
sends vibrations down into the earth and and the devil detects
it. And he and his demons are like, rise up and have a night
of passion with Albania and her sisters, which gives rise to the
birth of the race of giants, which is present in Albi. And
when Brutus arrives, this story is a really problematic story to
retell. Now it draws on a lot of stereotypes for representing
non-Christian women, let's say medieval kind of tropes of
medieval Christian tropes of doing this, which say a lot more
about medieval Christians than they do about anyone on that
sphere. But but I also just instinctively, despite her
murderous tendencies, kind of identified with Albina and her
ambition, not that I would go quite as far as she did, but I
think that it's just such a great story. And I also, as a as
a child, would read a lot of survival books. So I just liked
the idea of these 30 women
making rope and setting nuns and fashioning spears and generally
kind of imposing it.
Gary: Yeah, it's a good story and stories in history have to
be taken in view of the historical context and not
modern day perspectives. So that's always it's always tough
to kind of balance those to you establish the origin of Britain.
And then your next book, Wild Tales Tales of Medieval Britain.
Yes. Are those also myths? Are those real tales that you found
from medieval Britain?
Amy: Did most of the stories in story land well through to 15th
century? They're really from the slap bang and the kind of
jousting tourneys, kind of middle Ages. Wild tales from
early Medieval Britain goes back into a kind of I mean, dark ages.
It says anathema to say that now among academics. But there is
something really enticing about the idea of kind of this misty,
mysterious world where Christianity is kind of just
making inroads and bringing with it the written word to Germanic
societies. I want you to reflect on an old idea of the wilderness
through primarily focusing on a group of poems known as the old
English adages, but just to going to take a step back. The
book has seven chapters entitled Earth, Ocean, Forest, Beast and
Catastrophe Paradise, and each chapter, as in story Land, has a
story and a commentary in Wild. The stories are not retellings.
They are short stories that I've made up, but they are inspired
by fragments of poetry and art, other forms of literature that
use the wilderness in really interesting ways, or use an idea
of the wilderness in really interesting ways. So for
instance, the first chapter mostly inspired by an old
English elegiac poem that we now call the wife's lament, is found
in a late 10th century manuscript known as the Exeter
Book, which is a one of only a very few surviving big
compendium of old English poetry. And it was given to the Bishop
of Exeter, and he then left its text to Cathedral in 1072 when
he died. And it's been there ever since, which I think is
just wonderful. And it's got animal lore, it's got 95 old
English riddles, some of them really rude, it's got saints
lives, but it's also got a collection of poems known now as
the Elegies, which are distributed among the riddles,
but don't seem to quite be riddles. So in the case of the
wife's lament, the narrator seems to be a woman trapped
under an oak tree in what she calls an earth hole. And she is
watching the kind of the slow summer sun creeping by in this
northern landscape where the days are endlessly long and
summer. And she is bemoaning the fact that her Lord has left her
there and hasn't come back. And it's really oppressive. The
atmosphere and the themes are very much of isolation and
longing and yearning. And in contrast to that, there's
another poem which I use in the chapter on Ocean called The
Seafarer, where the narrator is out on a frozen ocean all alone.
So this is happening in the wilderness, his feet shackled by
frost. They're dreaming of former joys and trying to find
solace in the idea of eternal life as the only tree and
lasting joy. And they seem to me to use extreme portrayals of the
wilderness to express quite subtle psychological situation
and to just to talk about emotion, really, which is really,
when we think about the Middle Ages, I think we can often see
it as quite an emotionally stunted age.
Gary: Yeah.
Amy: Oh, kind of. Doughty Knight's kind of thrusting their
chins forward and and going off on quests and being very terse,
but these, these poems are really emotionally complex. And
I bring in some Welsh and an English poem as well, which does
a similar thing, but slightly differently in relation to a
minor outcast in the woods for his because he's so ill that
he's being cast out of this community. So yeah, the first
chapter takes the character of the from the wife's lament, and
I've sort of spun a ghost story out of it. And in the commentary
I then reflect on the idea of how the Earth was understood as
a place of burial, of that the Earth itself was kind of seen as
like a gigantic version of the human body. I became interested
in an article by a scholar called Sarah Semple, who argues
that the narrator of the wife's lament might be, Actually, I
want to say it without giving you any spoilers, but she
explains it. She explores the idea of prehistoric burial
mounds and how they how when the Germanic migrants who would
become the English landed in Britain, they found a landscape,
as they would have on the continent, covered in in
prehistoric monuments and burial mounds. And they added to those
themselves in that within that prior to that conversion. And
but in the in the later period when they have converted, these
places become steeped in superstition because of their
association with pagan burials. They were often the sites of
pagan shrines that were then on the boundaries of territories,
of civilized territories. And so they start becoming increasingly
in the later Anglo-Saxon period somewhere that they bury
criminals. And this might be to do with a belief that these
monuments were inhabited by demons, elves and goblins and
that sort of thing, and that the souls of the executed dead might
be trapped there. Yeah, that's an example of how sort of
starting with the elegy and the book then moves broadens out
into an exploration of that, that kind of element in general.
But it also brings in the Franks casket to the British Museum,
the first chapter, which is what beautiful Wales Bones is a lot
beautiful. It's kind of clunky, but it's what it is is amazing.
Is it made of Wales bones? Probably eighth century
Northumbrian caskets, about the size of a shoebox for a small
person for a child. Yeah and
it's got each of the panels is has been carved with scenes from
stories and those stories are derived from classical sources
from the Bible. It's got Romulus and Remus, for instance,
circling the sea. Well, it's got the three Kings visiting the
Virgin and Child. It's got a theme from a Germanic known
Germanic story about Weyland, the goldsmith dragging a woman
caught by all the hills so that he can impregnate her and wreak
vengeance on her father. It's got an unidentified scene of
somebody standing, a woman standing over a burial mound or
a funeral pyre. It's not quite clear with a cup. And it says
that Hoss wept for air tie and the sorrow mound and ruins
around the outside, which as it's an uncontested, otherwise
uncontested story, we don't know what that means. So I've brought
that into the short story as well. So it's just that's how
the book kind of rolls out. And I'm hoping the trajectory of the
each chapter, beginning with the Earth, ocean forest, fun beast,
catastrophe, paradise as there is broadly upward trajectory
from kind of the earth to the to the heavens and likewise has a
kind of ultimately very hopeful message, but in the process
reflects on early medieval ideas around mortality and the
apocalypse and such lovely themes as that.
Gary: Things we need to think about. Both of the books are
pretty heavily illustrated, and you brought this up earlier from
the illustrations you saw. Did you? You created all the
illustrations for both of the books.
Amy: I did. And that's how it's really begun each time. Story
Land as I've already described how the line cuts came out of my
page D project and Wild. The first illustrations add to that,
and actually the illustration is now the cover and the
illustration for the Earth chapter I did before the book
was a twinkle and the first weeks of lockdown here in
Britain during the pandemic. And that was a the radio and the
news and things were were reminding me of the old English
elegies because they were talking about exile and
isolation and loss and they were talking about transience of all
human experiences. It all became quite poetic in some ways, as
well as being very horrifying. And yet here in the UK we had
the most beautiful spring and it was like there were no planes in
the sky and the roads were silent and it was this glorious
weather and birds were singing and there was a real disjunct
between what you could see out the window and what you knew was
happening in the world and what humanity was experiencing. It's
like the opposite of the old English elegies, not so much the
Welsh Elegies that that video and even which are similar, but
they employ contrast very effectively. But the wife's
lament is and in The Seafarer, in reasons I've described, they
mirror the emotions of the narrator. With the weather, it's
a real it's just through and through pathetic policy. And and
so I sat outside one day and carved a block of maple with an
illustration of the of the figure from the wife's lament,
standing under an oak tree in this kind of dark cave and felt
as though it was, I don't know. It was just a kind of what to do
with all of these weekends. And maybe reflecting on on what I
was hearing in the news, and that became a wood engraving. So
this is a technique is different from woodcut, which is often
quite is on a larger scale and done on a piece of wood, cut on
the plank, wood engravings done on the end, grain of a piece of
timber like boxwood or maple wood, very close grained, and
they're often very small. So the illustrations in wild a 7.5 by
ten centimetres and they're reproduced to scale. So it'll
feel like a letterpress book you inside your drawing, your image
of stain the block with black ink, first of all. And then I
draw on it in pencil so that if you tilt the block in the light,
you can see your drawing very clearly. And and then I use a
sharp tool called appearance to incised little lines, which will
show up white in the final print. And this was a good medium to
use in lockdown because I couldn't get to the studio, so I
didn't have a press at home. And so with these small engravings,
I could just use a boon burnish or the burnish so I could place
ink up the block, put paper on top, and then use a piece of
antler or the back of a wooden spoon to rub the paper on, to
press it really hard onto the block by rubbing under and
transfer the ink that way. And then I spent a couple of days
just auditioning this print of the woman under the oak tree.
And then I did a series inspired by the Elegies. And then when
the publishers came to me after story lines and said, Have you
got an idea for another book? I thought, Well, I've got the
collection of illustrations just ready to have words put around
them. And so that was how World came to be.
Gary: In modern day. We have audio books, but we can't show
illustrate scenes in audio books. So you decided or somebody
decided, I'm assuming you decided that the illustrations
were going to be replaced by music, folk songs. Did you make
those songs and how did you decide to do that?
Amy: I think audiobook is such an exciting medium because it's
relatively new in terms of the how widespread and popular it is
now. I mean, I know we've got audio books going back way, way
back with them, but everyone's listening to audiobooks these
days and I, I think they can be so much more than just a reading
aloud of a book. And when it comes to medieval, using the
Middle Ages as a key for storytelling, you can't get away
from the fact that stories were everywhere, in every medium in
medieval culture that are painted onto the walls of both
chambers and woven into tapestries and in song or spoken
over instruments, and they're on caskets and all kinds of things.
I'd also I've been producing songs anyway, because I'm not
I'm not a highly trained musician or anything like that.
I used to sit down at the piano when I was struggling to find
the emotional crux of a story, because when you're retelling
medieval stories, you've got to find, I think, the thing in it
that matters to you emotionally so that you can try and engage a
modern readership and enjoy the process yourself. So I would sit
down and try and find a chord sequence that kind of sounded
like the story or what I cared about in the story and maybe put
some words to it. And I did the same with Wild, and I thought,
and it's such an immersive world anyway, the Elegies are so
immersive. It just seemed right to try that out. And it was.
It's great because it's not it's not authentic at all in the
sense of it's not on the liar or using any medieval instruments
apart from the Voice.
But I hope it is authentic in the sense that though it's all
in the service of the story. So the first the story for the song,
for the Wife's Lament chapter, the Earth chapter, is a kind of
scandi noir, metal, seething sort of song. But then the one
for the Heaven chapter, the Paradise chapter, is poorer and
a lot more kind of traditional in that sense, and perhaps more
euphoric and hopefully beautiful. And so I hoped that it would
like, as the illustrations do, just kind of give a give an
extra emotional nudge to the reader to kind of feel what that
chapter has to offer, as well as kind of immersing themselves in
the non-fiction, the facts and the quotes from Bede and what
sort of things that are in there to.
Gary: Me gives the reader a reason to pick up both books.
The physical book and the audio book to experience the same
story, but in a different way.
Amy: Yeah, and it's a shame, isn't it, if you know, because I
mean, I've got young children, so I guess it's like, yeah, when
you have young children, it's quite hard to sit down and read
for starters. So it's really great to listen to audiobooks.
If your work is practical, then it also is. It's an opportunity.
If you want to listen to something to engage in
literature that way. So I listen to a lot of audiobooks when I'm
making pictures, but it also is a shame if the if the audiobook
is is, as you say, like lacking something that the physical book
has. So I hoped that by offering music it was a different product
and that would be, yeah. And you could feel as though you were
getting the audiobook and something that more right.
Gary: Okay, so what is in the future? Do you have any other
books planned?
Amy: I do, I do. I'm not sure. I'm not sure if I meant to say I
like. So it's so close to being announced.
Gary: Stay tuned.
Amy: Yeah, Please stay tuned because there's a book coming
out this autumn. It's imminent. It's all going to be kind of
hitting social media in the next couple of months and it's in the
same vein as story, land and water sort of theories. Then
it's in that series and it's a similar sort of aesthetic and a
similar sort of structure of stories and commentaries. And
it's and it's contingent on that on their worlds. And so for me,
it's so exciting because it's really building up a secondary
fantasy worldview, actually, because in both of these books
and in this next one, you're kind of putting medieval goggles
on. There's magical realism. One does can happen, Giants can walk
the earth, miracles can occur, Wales can pose as islands and
drag you to the abyss. But the great thing about this current
project for me is seeing all of those connections yet again and
and seeing them kind of get more complicated and bigger as as
this world emerges. So I'm hoping that for readers of Story
Land and Wild, this next one will keep on reinforcing what
the other two have put in place and add to it as well. In this
delicious world of the medieval imagination, there is such a
thing.
Gary: Excellent. All right. Well, thank you for being on the show,
Amy. Where can people find you online and where can they get
your books?
Amy: You can find me on Instagram. As Amy just
underscored, author on Twitter as Amy underscore Historia,
which is the Latin for history, and it will be great to see you
on there and I will keep posting about forthcoming projects.
Thank you guys so much for having me. It's been lovely.
Gary: I enjoyed the talk with Amy and we'd like to thank her
again for taking time out of her busy schedule to come on the
show. You can find the links to Amy's book Storyline A New
Mythology of Britain and Wild Tales from early medieval
Britain in the show Notes and Medieval Archives dot com slash
89. There's also links to her Instagram and Twitter accounts.
You should follow one or both of those to stay up to date about
her upcoming book. It sounds like another great read. If
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