is someone isolated even further from the world than a regular nun: an anchoress, a spiritual worker who lives in an enclosed cell—also referred to as a tomb—metaphorically dead to the world, and charged with being an authority to others on Scripture, good living, and other life questions. Her name is Hedwig, and she talks about herself almost like a life advice columnist—any question someone has about any part of the Bible and its reference to them, she can answer.
The novel’s conceit is ingenious: as an anchoress, Hedwig hasn’t left her cell in 20 years. Because of this, when a nun is killed, she’s the only one the superior of the abbey trusts to be innocent. Thus, Hedwig is charged with leaving her cell and finding who did commit the crime. Every other nun is a potential suspect, and they’re also evaluating Hedwig as an outsider who they’ve lived next to all their lives, but never actually seen.
Unlike the other nuns, who drink, swear, and roll the Office of the Hours into just two prayers, Hedwig is very devout and full of specific knowledge about Catholic doctrine.as a whole is similarly encyclopedic in its knowledge of the Bible and medieval liturgical history. For example, the demo mentions at length John Wyclif’s translation of the Vulgate into Middle English, for which he was accused of heresy.
The characters speak in informal contemporary English, which works the majority of the time. The nuns are represented by static portraits that add a smaller version of the character’s face above them when they become sad, scared, or angry.
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