The Glass Woman (2019): Caroline Lea


As we head deeper into the season of long nights and crisp mornings, this tale of anxiety, fear and distrust in an Icelandic winter feels very appropriate. It opens with a wedding: Rósa, the daughter of the late Bishop of Skálholt, is wooed and won by the wealthy farmer Jón Eiríksson. But this tale of a new marriage is far from being a cosy feel-good romance: no one is foolish enough to believe that love has anything to do with it. With luck, it’ll come later. Jón is a recent widower who needs a wife to help him on the farm and give him children. Rósa faces suspicion in her own community because she reads, writes and is fond of ancient runes and sagas – things that the church forbids. In theory, their union should help both of them. But Rósa has barely settled in before alarming questions begin to unsettle her. Why won’t Jón let her socialise with the local women? What’s the story behind his near-demonic servant Pétur? And what actually happened to Jon’s first wife?

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