Masquerade by Hannah Fielding
A young writer becomes entangled in an illicit gypsy love affair, pulling her into a world of secrets, deception and dark desire.
Summer, 1976. Luz de Rueda returns to her beloved Spain and takes a job as the biographer of a famous artist. On her first day back in Cádiz, she encounters a bewitching, passionate young gypsy, Leandro, who immediately captures her heart, even though relationships with his kind are taboo. Haunted by this forbidden love, she meets her new employer, the sophisticated Andrés de Calderón. Reserved yet darkly compelling, he is totally different to Leandro but almost the gypsy’s double. Both men stir unfamiliar and exciting feelings in Luz, although mystery and danger surround them in ways she has still to discover.
Luz must decide what she truly desires as glistening Cádiz, with its enigmatic moon and whispering turquoise shores, seeps back into her blood. Why is she so drawn to the wild and magical sea gypsies? What is behind the old fortune-teller’s sinister warnings about ‘Gemini’? Through this maze of secrets and lies, will Luz finally find her happiness… or her ruin?
Masquerade is a story of forbidden love, truth and trust. Are appearances always deceptive?
Guest Post by Hannah Fielding :
Masquerade: From heroine to mother, from daughter to heroine
In Indiscretion, the first novel of my Andalucian Nights trilogy, the heroine is Alexandra, a half-Spanish, half-English writer who has come to Spain to learn about her roots. Fast-forward a quarter of a century and my new novel Masquerade takes up the story of Luz, Alexandra’s daughter.
For me, it was fascinating, challenging and, ultimately, very fulfilling to write of this mother and daughter in Masquerade.
In Indiscretion, Alexandra is centre-stage; but in Masquerade she must move to the back to allow her daughter to take the limelight. I was careful not to make her too prominent: the last thing Luz needs is an interfering, overbearing mother! But I wanted to keep Alexandra in the story, so that Luz had the support, love and stability of a caring mother – so different to the orphaned Alexandra herself.
For me, the most important element of writing Alexandra and Luz in Masquerade was to define how they differ and how they are alike. Certainly, Luz takes after her mother, in her creative talent (she too is a writer), her independence, her individualism and her romantic sensibility. But Luz is altogether more flamboyant and daring than her mother; more in tune with her passion, I would say. She is more bohemian, more risk-taking, more open to adventure. She pushes rebellion further than her mother before her, and has a streak of pride that could be her undoing.
Ultimately, the two women find love in very different eras, and that affects their outlooks and actions. Alexandra comes to Spain in the wake of the Second World War, and there she must contend with a society that feels in the Dark Ages to her, rife with stifling traditions and outmoded rules. To rebel in those times carried great personal risk; women were simply not permitted to follow their passion.
Luz, meanwhile, is falling in love in a very different time. It is the 1970s, and Spanish society is transforming. A sexual revolution is underway, many of the confining rules have been relaxed and women are on the way to a more equal footing in society. Being a woman in love is so much easier for Luz. Well, it would be if she picked a socially acceptable man to love, like the successful businessman Andrès. But the wild, forbidden gypsy Leandro is so attractive. And Luz is the kind of girl with the courage to break taboos. What will her mother, Alexandra, think to that?
Of these two women, one truth is paramount: through indiscretion and masquerade, they will fight for truth, for justice – for love.
Luz set eyes on him for the first time from her seat on Zeyna’s back as the fine white Arab mare stepped down the narrow path from the cliff that led to the beach. He was sitting on the edge of the track, leaning nonchalantly against a wild carob tree,watching her while chewing on a sprig of heather. As she drew nearer, she met his steady gaze, spirited and wild. At that moment she had no idea this man would have the power to change her world and create such havoc in her heart, that she would emerge from the experience a different person. Fate had not yet lit up the winding pathway of her life nor the echoes of history along it, but now, in front of this stranger, a disturbing awareness leapt into flame deep inside her and began to flicker intensely. Without thinking, she tugged on Zeyna’s reins to slow the mare down.
For a moment they stared at each other. He was clearly a gitano, one of those people that Luz’s family had always warned her to steer clear of. The frayed, cut-down denims sat low on his hips, revealing deeply tanned, muscular long legs, and his feet were bare as though he had just walked straight from the beach. Unruly chestnut hair, bleached golden in parts by the sun, tumbled to his shoulders; his smooth copper skin glowed more than that of any gypsy she had ever seen. As she allowed her gaze to flick back to his face, Luz caught the flash of amused, provocative arrogance in those bright, burning eyes, mixed with something deeper that she didn’t understand. She swallowed. The overwhelming masculinity of the gitano unsettled her. Luz lifted her chin resolutely, but felt the pull of his magnetism reaching out and gripping her, beguiling and dangerous, so that instinctively she nudged her mount and they broke into a smooth canter. The thumping of her heart sounded loud in her ears. She could sense his eyes on her, as a palpable touch, even as she rode away, trembling, and the feeling remained with her until she knew she was out of sight.
Had Zeyna picked up her mistress’s inner turmoil? Luz was pulling on her bridle as the mare tossed her head this way and that, snorting. Surprised by the horse’s unusual behaviour, Luz looked down at her hands and realized that she was clutching the reins much too tightly. She relaxed her hold. ‘I’m sorry, old girl. My fault,’ she whispered, leaning forward to pat the mare’s neck. Feeling free, the handsome creature surged forth without hesitation. The wind blew warm and salty; it touched Luz’s long black hair like a caress, threatening and tantalizing, wrapping a few silky wisps around her face. An unusual heat coursed through her, even though she was dressed only in a T-shirt, jeans tucked into riding boots. She raised her head against the breeze, letting the briny air course over her body, willing it to drive away this unfamiliar disquiet from her mind.
Gradually her sense of foreboding subsided and the awesome setting regained its hold. She felt an exhilaration and breadth of freedom in the vast solitude of the deserted beach and the wide horizons of the sea. The intense blue of the bay lay before her in the late afternoon sun. The lines of the land were so recognizable to her: no trees, no shrubs, no delicate tinting nor soft beauty, but a pure, distinct outline of form, almost terrifying in its austerity. Then, from time to time, there were the shadows of great clouds moving overhead, staining this infinite expanse of dunes that stretched before her like a vast tapestry, in shades of cream, greys and silver. Galloping in the wind on the back of her beautiful white mare, Luz felt in harmony with the Andalucían landscape and with herself. She had left her flat in Chelsea, finished her job in Scotland, and now she was back in Spain, a newly born post-Franco Spain, ruled by an energetic young king, and teetering on the edge of new possibilities. She was back at last in her beloved country, this time to stay.
Luz María Cervantes de Rueda was the only child to Count Salvador Cervantes de Rueda and his beautiful half-English, half-Spanish wife, Alexandra. At the time, their love story had made newspaper headlines and had been a favoured subject for wagging tongues in the drawing rooms of Spanish society. There had been a scandal involving Count Salvador, a young gypsy girl and her ne’er-do-well brothers. To add to the gossip, Alexandra de Falla was not from a pure Spanish background. Her foreign ways had caused suspicion and disapproval among the cloistered circles, their traditions still so deeply rooted in 1950s Andalucía. The fact that she was a romantic novelist, too, had caused many raised eyebrows. Some predicted doom when the couple’s fairy-tale marriage was announced, but as in all fairy tales, the pair had surprised everyone and were still living happily ever after.
For the first eleven years of her life Luz had lived in Spain, spending July and August in Kent with her Great-Aunt Geraldine. Later, when she was sent to boarding school in Gloucestershire, she would return three times a year to El Pavón, the ancestral home of her father outside the city of Jerez: at Christmas, Easter and for part of the summer holidays.
Luz had just arrived in Cádiz that morning, straight from England. She intended to spend at least a week at L’Estrella, the family’s summer house, before going on to see her parents at El Pavón. She was excited, pulsing with life, feeling as though she was on the verge of embarking on a great adventure.
It had been a long haul that had started with Cheltenham Ladies’ College when she was eleven, through a master’s degree in history and modern languages at Cambridge, and finally two years spent in the Highlands of Scotland penning the biography of an ancestor for one of the great families of Britain. Now that book was delivered, she could feel that Spain was where she was meant to be, where she was always meant to be. Here, she could breathe, feel her body come alive under the Spanish sun, and let all the pent-up, reckless instincts she had tried so hard to tame all through boarding school in England run wild and free. Luz had never thought that those compulsive feelings she had were the secret machinations of ‘destiny’; there was a sceptical, no-nonsense side to her inherited from her mother, along with a talent for writing, but she knew that the fiery Spanish nature that was her father’s – and always got the better of her – had finally pulled her back to Andalucía.
Only that morning, when Luz had arrived at L’Estrella laden with suitcases, Carmela handed her a letter that had come the day before. Ever since she had replied to an advertisement in the local paper for a biographer, she’d been praying for an interview. And here it was: a letter inviting her for a first meeting that week. Luz had barely been able to contain her relief and joy as she pulled the housekeeper into a delighted hug. She had really set her heart on this job, not only because she would be writing about Count Eduardo Raphael Ruiz de Salazar, one of the great painters of modern Spain, but also because the artist was from this part of the world and a large portion of the research would be done locally in Cádiz and its neighbouring towns. It seemed that now Luz had been given her reason to stay.
She brought Zeyna to a halt at the edge of the shore. The wild salty air seemed to be sweeping up from the beach as it brushed her cheek. She closed her eyes to savour its breath, delicious odours laden with iodine and fruits of the deep. The sun was setting in the late afternoon and the sky, gloriously mottled with apricot-pink and lilac, was broken here and there by shafts of light reflecting on the surface of the water, turning the calm ocean into a spectrum of peacock colours.
Now she could make out the fishing boats in the distance returning after a day’s work: black toy insects, the antennae of their masts bristling against the flamingo-tinted sky. Gulls and terns mingled overhead, screeching, impatient for the laden fleet’s arrival. Luz did not care much for birds. She found them – even the beautiful ones – eerie and menacing. It was time to be starting back.
Hannah Fielding bio:
Hannah Fielding is an incurable romantic. The seeds for her writing career were sown in early childhood, spent in Egypt, when she came to an agreement with her governess Zula: for each fairy story Zula told, Hannah would invent and relate one of her own. Years later – following a degree in French literature, several years of travelling in Europe, falling in love with an Englishman, the arrival of two beautiful children and a career in property development – Hannah decided after so many years of yearning to write that the time was now. Today, she lives the dream: writing full time at her homes in Kent, England, and the South of France, where she dreams up romances overlooking breath-taking views of the Mediterranean.
To date, Hannah has published four novels: Burning Embers, ‘romance like Hollywood used to make’, set in Kenya; the award-winning Echoes of Love, ‘an epic love story that is beautifully told’ set in Italy; and Indiscretion and Masquerade (from the Andalusian Nights Trilogy), her fieriest novels yet. She is currently working on her forthcoming book, Legacy, the final title in the trilogy, which is due to be published in spring 2016.