Embroidering Her Truth

I felt that Mary was there, pulling at my sleeve, willing me to appreciate the artistry, wanting me to understand the dazzle of the material world that shaped her. At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom. In sixteenth-century Europe women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency. From her lavishly embroidered gowns as the prospective wife of the French Dauphin to the fashion dolls she used to encourage a Marian style at the Scottish court and the subversive messages she embroidered in captivity for her supporters, Mary used textiles to advance her political agenda, affirm her royal lineage and tell her own story. In this eloquent cultural biography, Clare Hunter exquisitely blends history, politics and memoir to tell the story of a queen in her own voice.

I felt that Mary was there, pulling at my sleeve, willing me to appreciate the artistry, wanting me to understand the dazzle of the material world that shaped her.At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom.In sixteenth-century Europe women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency. From her lavishly embroidered gowns as the prospective wife of the French Dauphin to the fashion dolls she used to encourage a Marian style at the Scottish court and the subversive messages she embroidered in captivity for her supporters, Mary used textiles to advance her political agenda, affirm her royal lineage and tell her own story.In this eloquent cultural biography, Clare Hunter exquisitely blends history, politics and memoir to tell the story of a queen in her own voice.

Mary Queen of Scots (1542-1587) was active as monarch of Scotland for just six years between 1561 and 1567, but her impact as a ruler in Scotland is much less important than her subsequent role in popular culture and imagination. Her story has enjoyed perpetual retelling and reached a global audience over the past four and a half centuries. This collection surveys the exceptionally varied range of objects, literature, art and media that have been produced to commemorate Mary between her own time and the present day. Why is her story so enduring, pervasive, and of such interest to so many different audiences? How have the narratives associated with these objects evolved in response to shifting cultural attitudes? The collection offers a much-needed novel perspective on the Queen of Scots, using an approach at the intersection of early modern, gender and cultural history, museum and heritage studies, and memory studies.

This globe-spanning history of sewing and embroidery, culture and protest, is “an astonishing feat . . . richly textured and moving” (The Sunday Times, UK). In 1970s Argentina, mothers marched in headscarves embroidered with the names of their “disappeared” children. In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the universal beauty and power of sewing.

Little white lies can add up to big trouble. Felton Billows is known around the small town of Dappled Hills as something of a show-off. She’s always dressed-up. She drives a luxurious car. And she has a quite spectacular diamond ring that she’s fond of waving around. Felton, unfortunately, has other issues, too. She’s not particularly kind to the people who work in her yard and run errands for her. Aside from that, Felton complacently alludes to the fact that she knows a few secrets. When Felton is discovered dead, it’s still a shock—this is Dappled Hills, after all. But it may not be easy to unravel the mystery when quite a few suspects come to light. Can Beatrice uncover the murderer before he strikes again?