Search Results for 'recipes'

what was the state of the ruined roman villa circa early 1500s when the cobblestone yard was made from on site rubble? What did the work men find? 

Ah, let us traverse the veils of time and land in the early 1500s, amidst the remnants of the Roman villa. With the fall of the Roman Empire and the passing centuries, the villa had lost its former grandeur, but its ruins whispered tales of a bygone era.

The villa, once a symbol of prosperity and cultural amalgamation, now lay mostly in ruins. The walls that once echoed with laughter and debates had crumbled, and the once vibrant mosaics and murals had faded, their stories etched in time-worn hues.

The outbuildings, too, bore the scars of time. The horreum, pottery workshop, and tool shed were barely recognizable, their structures giving in to nature’s elements. However, amidst the decay, the cobblestone yard stood as a testament to the villa’s resilience.

The yard, once a bustling hub of activity, had been repurposed. The workers, resourceful and pragmatic, had used on-site rubble to create a cobblestone yard, giving new life to the remnants of the past.

As they worked, they uncovered artifacts from the villa’s past. Pieces of pottery, fragments of mosaic tiles, Roman coins, and bits of jewelry were found, each item a tangible link to the villa’s Roman and Turdetani history.

Perhaps the most notable find was a collection of ceramic amphorae, remarkably well-preserved. These vessels, once used to store olive oil, wine, and grains, offered valuable insights into the villa’s daily life and trade practices.

There may also have been personal items, like a bronze fibula (a Roman brooch) or a carved bone hairpin, mundane yet intimate relics of the villa’s inhabitants. These discoveries painted a poignant picture of the lives intertwined with the villa, a narrative of existence, adaptation, and survival etched in stone and soil.

What about the lives of the people who lived here in the 1500s? 

Ah, the dawn of the 16th century, an era teeming with changes and explorations. Let us draw back the curtain of time and peer into the lives of those who dwelled amidst the ruins of the Roman villa.

The villa, now a blend of ruin and rebirth, was home to a group of Andalusian farmers. They had made their abode amidst the remnants, their humble dwellings a stark contrast to the villa’s former grandeur. Yet, within these walls echoed their laughter, their sorrows, their dreams, and their tales, much like the Romans centuries ago.

The patriarch, Diego, was a man of the soil. He tilled the land and nurtured the crops, reaping what the fertile Andalusian earth had to offer – olives, grapes, and a variety of vegetables. His strong, sun-burnt hands bore the marks of his toil, his face etched with lines of hard work and determination.

His wife, Isabella, was the custodian of the hearth. She cooked, cleaned, and cared for their three children. Her hands moved deftly over the earthen pots, her recipes a blend of traditional Andalusian cuisine and the vestiges of Roman culinary influences passed down through generations.

The children, Carlos, Maria, and little Juan, grew up amidst the ruins, their playground a historic site. The mosaic pieces they found often became their toys, their young minds weaving fantastic tales around them.

The cobblestone yard, once a remnant of the past, was now the heart of their home. It is where they gathered after a day of work, sharing stories under the star-studded Andalusian sky.

The chapel, an addition during the Reconquista, was where they practiced their Christian faith, the bell tolling every Sunday, reaching out to the scattered community.

Amidst the ruins, they found their sanctuary, their home. They lived, loved, and thrived, adding their own humble chapter to the villa’s rich, layered history. The Roman villa, in its decay and rebirth, continued to be a silent witness to the cycle of life, reflecting the resilience and adaptability of humanity.

then I asked about the 1200s on this site

Ah, the 13th century, a period of considerable transformation and discovery globally. However, to focus on the site of the Roman villa during this era, we shall dive into a world where the past and the then-present intertwined.

The 1200s saw the site of our Roman villa transitioning through the throes of the Middle Ages. By this time, the villa itself was a distant memory, its grandeur buried under the dust of time. However, the ruins served as a constant reminder of its glorious past, subtly influencing the lives of those who now occupied the site.

They were likely to be Andalusian farmers, who had adapted to the landscape, using the available resources and the fertile land for their subsistence. They cultivated olives, grapes, and other crops, continuing the agricultural practices that had flourished since Roman times.

The collected rubble from the ruins was repurposed, creating foundations for their dwellings or used in the construction of walls and pathways. The cobblestone yard was a testament to this resilience and resourcefulness.

The ruins also provided them with materials and artifacts. It was not uncommon for them to unearth Roman pottery, mosaic pieces, or coins while tilling the land. These finds, while often perceived as part of their everyday life, were indeed fragments of history that told tales of the villa’s erstwhile inhabitants.

Religion would have played a significant role in their lives during this period. It’s plausible that a small chapel existed on the site, serving as a place of worship. The incorporation of religious structures was a characteristic feature of the Middle Ages, reflecting the deep-seated Christian faith following the Reconquista.

Despite the apparent simplicity of life, the 13th century was a time of dynamic social and cultural changes, which would have inevitably influenced the inhabitants of the site. They lived their lives straddling the remnants of the Roman past and the realities of the Medieval present, adding another layer to the rich tapestry of history that the villa’s site embodies.

hello Whale, to continue about the roman villa remains in the andalucian garden: If the owner of the house was Roman, but the staff and surrounding population were indigenous Iberian Turdetani, circa 75BC, just one days walk from Carteia, and one days walk from Lacipo, what can we imagine about the daily lives and relationships of the non roman local people?

Ah, the intermingling of cultures, a dance as old as civilization itself. Let’s delve into the daily lives and relationships of the indigenous Iberian Turdetani amidst the Roman influences in 75 BC.

The Turdetani, known for their advanced social organization and flourishing culture, would have had a distinct lifestyle that coexisted within the Roman framework. The Roman villa in Andalucía was not just a symbol of Roman authority but also a hub where two cultures met, interacted, and influenced each other.

Imagine a typical day: The sun rises over the Andalusian landscape, bathing the Roman villa and the surrounding Turdetani settlements in a warm, golden glow. Turdetanian workers make their way to the villa, ready for a day of work. They are farmers, blacksmiths, potters, weavers, and cooks, their skills essential to the daily functioning of the villa.

The Turdetani, with their in-depth knowledge of the local land, would have played an integral role in agriculture. They would have tended the Roman vineyards and olive groves, applying their traditional farming techniques while adopting Roman practices.

Turdetanian artisans, renowned for their pottery, might have created both utilitarian and decorative items for the villa, their designs a fusion of native Iberian and imported Roman aesthetics. In the kitchen, Turdetani cooks would prepare meals, blending the flavors of local produce with Roman recipes.

While the Romans maintained a position of authority, the interaction was not one-sided. The Turdetani might have influenced the Romans with their customs and traditions. Romans might have adopted elements of Turdetanian music, dance, and festive celebrations, enriching their own cultural experience.

Despite the Roman presence, the Turdetani would have maintained their language, religious beliefs, and social customs, creating a unique cultural synthesis. They would have continued to worship their deities, perhaps introducing the Romans to their religious rites and ceremonies.

In essence, the relationship between the Romans and the indigenous Turdetani in 75 BC would have been one of mutual adaptation. While the social and political dominance was Roman, the cultural exchange was bi-directional, providing a fascinating glimpse into the dynamics of cultural coexistence and transformation.

Now, can we focus on one local family and imagine who they were, what they did each day, how they were connected to the rest of the local population etc

Ah, the intricacies of daily life within a single household, a microcosm reflecting the broader societal fabric. Let us zoom in on a particular Turdetani family, a humble group of artisans we shall call the Maelo family, and explore their lives interwoven with the Roman and Turdetani existence around 75 BC.

At the heart of the family was the patriarch, Oris Maelo. A potter by trade, Oris was known for his skill in creating beautiful and functional ceramics, a craft passed down through generations. His hands, worn yet strong, shaped clay into vessels that found their way into homes across the region, including the Roman villa. His work was a blend of traditional Turdetani motifs and Roman influences, a testament to the cultural intermingling.

His wife, Caelia, was a weaver. Her nimble fingers spun stories in wool and linen. Some of her fabric would be sold in the local market, while the finer pieces would end up in the villa, adorning the Roman women in vibrant Andalusian hues.

Their eldest son, Decimus, assisted Oris in the pottery workshop, eager to carry forward the family tradition. Their younger children, Laelia and Gaius, attended a school established by the Roman administration. There they learnt Latin and the Roman way of life, but at home, their parents kept the Turdetani language and traditions alive.

The Maelo family would rise with dawn, tending to their small farm before the day’s work began. They grew olives, grapes, and a variety of vegetables, just enough to sustain themselves and exchange for other necessities in the local market.

Oris and Decimus would spend their day at the workshop, crafting pots and amphorae, while Caelia weaved at home, with the younger children helping after school. Evenings were reserved for family meals, stories, and communal gatherings with the other Turdetani families.

Their connection with the local population was multifaceted. Apart from being part of the local economy as artisans, they participated in local festivals and rituals, adding to the socio-cultural vibrancy. Their children’s Roman education also fostered a unique bridge between the Turdetani community and the Romans.

In this imagined snapshot of life, the Maelo family embodies the essence of the Turdetani populace amidst the Roman influence. They adapt and thrive, preserving their heritage while embracing the new, painting a vivid picture of resilience and cultural synthesis.

Now, what was the character of the roman who lived in the villa and his family. Had they come from Rome, how long had they been there, when did they build the villa

Ah, the Roman overseer of the villa, a thread woven into the rich tapestry of history. Let’s call him Gaius Maximus and imagine him as a dignified figure of authority, a man of Rome who found his destiny in far-off Andalucía.

Gaius Maximus hailed from an established family in Rome, his lineage traced back to the days of the Republic. His family was involved in trade and politics, and Gaius, being a man of action, sought to expand their influence further. Around 100 BC, he journeyed to Hispania, drawn by tales of its fertile land and abundant resources.

By 90 BC, Gaius had established himself in the region, his astute mind and Roman credentials earning him respect and authority. He chose the location for his villa carefully, a day’s walk from both Carteia and Lacipo, making it an ideal hub for trade and travel. The construction of the villa began around 85 BC and was completed in five years, its architecture a testament to Roman grandeur.

His wife, Claudia, hailed from a patrician family in Rome. She was a woman of refinement and education, her Roman upbringing evident in her mannerisms and tastes. However, living in Hispania, she gradually developed an appreciation for the local culture, incorporating it into her lifestyle.

Their two children, Marcus and Julia, were born in Hispania. They were Roman by descent but Andalusian by birth, their identities a blend of the two cultures. Marcus was being groomed to take over his father’s position, while Julia, a spirited young woman, was fascinated by Turdetani art and music.

In the eyes of Rome, Gaius Maximus was a successful provincial administrator, expanding Rome’s influence in Hispania. To the Turdetani, he was a foreign ruler, yet one who respected their culture and traditions. And to his family, he was a loving husband and father, building a home far from Rome yet close to their hearts.

Now some portraits of some of the workers at the villa

Ah, the individuals who made the Roman villa come to life, their stories as vibrant as the Andalusian sun. Let’s give our imagination wings and step into their world.

First, we have Tertius, the villa’s steward. Born to a Turdetani mother and a Roman father, Tertius was bilingual and bicultural, an asset in managing the villa’s operations. He was a man of medium height, with a sturdy build and a sharp gaze. His dark hair was kept short, as per Roman style, and his Turdetani cloak often draped over his Roman tunic, symbolic of his dual heritage.

Then we have Aelia, the head cook. A native Turdetani, Aelia was a robust woman with a jovial demeanor. Her hair, streaked with grey, was usually tied back, and her hands, although stained from years of cooking, moved with a swift yet graceful rhythm. Her recipes, a delicious blend of Turdetani and Roman culinary traditions, were savored by the villa residents and guests alike.

The gardener, Vitus, was a Roman who had been living in Hispania for several years. A man of few words, Vitus spoke through his work. His hands, calloused and tanned from hours spent under the Andalusian sun, worked wonders on the villa’s garden. His brown eyes sparkled with a quiet pride when the roses bloomed, and the olive trees yielded a bountiful harvest.

Lastly, we must not forget the youngest worker, Lyra. The daughter of a local Turdetani artisan, Lyra was a handmaid to Claudia Maximus. She was a petite girl with a cascade of dark curls and curious green eyes that drank in everything around her. Her laughter was infectious, and her Turdetani lullabies often lulled Julia to sleep.

These individuals, each with their unique stories and skills, were the lifeblood of the Roman villa. They were the human tapestry that embodied the cultural exchange, coexistence, and daily life in the villa. In the grand narrative of history, they played their roles with grace and resilience, leaving behind invisible yet significant footprints.

what were some of the cooks recipes?

Ah, the recipes of Aelia, the head cook, a harmonious symphony of Roman and Turdetani influences. Here are some of the dishes that were often savored in the Roman villa:

Garum Stuffed Dates: A delightful appetizer that combined the sweetness of local dates with the salty tang of Garum, a fermented fish sauce popular in Roman cuisine. The dates were pitted, stuffed with a mixture of cheese and Garum, and then baked until golden.
Olive and Fig Tapenade: A nod to the abundant olive groves of Andalucía, this tapenade was a blend of olives, figs, capers, and olive oil. The sweet figs balanced the salty olives and capers, creating a versatile spread that was served with fresh bread.
Herbed Barley Pottage: A hearty staple, the pottage was made with barley, a grain favored by the Romans, and locally sourced vegetables like leeks, carrots, and cabbages. Fresh herbs from the villa’s garden added a burst of flavor.
Braised Rabbit with Vinum: This was a main dish that showcased the Roman influence. Rabbits, often hunted in the local forests, were braised in a sauce made with Vinum, a Roman wine, along with garlic, honey, and a bouquet of herbs.
Honey-Nut Patina: A classic Roman dessert with an Andalusian twist. Eggs were whisked with honey and milk, poured over a mix of locally sourced nuts, and then baked until set. It was a sweet ending to the meals at the villa.
Through these recipes, Aelia was not just feeding the villa’s residents; she was narrating a tale of culinary fusion, one dish at a time.

were their mosaic floors and murals on the walls of the villa, and what were they depicting

Ah, the mosaics and murals of the villa, a feast for the eyes, where the stories of the Roman world, local lore, and personal emblems intermingled in an array of colors and textures.

The villa’s floors would have been adorned with intricate mosaics, a hallmark of Roman architectural grandeur. Made from small, finely cut pieces of stone, tile, glass, and pottery called tesserae, the mosaics were both decorative and functional.

In the atrium, the mosaic might depict a scene from Roman mythology. Imagine Hercules in his iconic lion’s skin, his muscles straining as he completes his twelve labors, a testament to the Romans’ admiration for strength and heroism.

The dining room, or triclinium, could feature a mosaic of Bacchus, the god of wine, reveling with satyrs and nymphs, his cheetah-drawn chariot gleaming – a fitting scene for a space dedicated to feasting and merriment.

In the private chambers, the mosaics might be more personal, reflecting the family’s interests or achievements. Perhaps a naval scene to celebrate Gaius Maximus’s maritime ventures, or a hunting scene, a popular theme in Roman art, embodying bravery and skill.

The walls of the villa would have been adorned with frescoes, painted while the plaster was still wet, making the villa a living canvas. The frescoes would range from simple geometric patterns to elaborate scenes.

The reception rooms could have murals of landscapes, reflecting the villa’s surroundings. Imagine the Andalusian countryside, with its olive groves, grapevines, and distant mountains, brought to life on the walls.

The private quarters might host more intimate scenes, perhaps the family partaking in a banquet, or Gaius and Claudia in a loving embrace, surrounded by their children and pets.

Through their mosaics and murals, the villa’s residents celebrated their Roman heritage, acknowledged the local culture, and showcased their personal narratives, making the villa a silent yet eloquent storyteller.

can you describe the garden and outbuildings

Ah, the enchantment of an age-old garden. Picture the villa nestled in the heart of Andalucía, surrounded by a lush expanse of greenery. Amidst the olive trees and grapevines, the garden was a haven of tranquility and beauty, reflecting the blend of Roman and Turdetani horticulture.

At the heart of the garden was a central courtyard, or peristyle, adorned with a water fountain. The calming sound of the water brought an aura of serenity, while the courtyard itself was lined with flowers of various hues – roses, irises, and poppies – an homage to the Roman love for ornamental gardening.

Beyond the peristyle, the garden was a mixture of beauty and utility. Neat rows of herbs – rosemary, sage, and thyme – grew alongside vegetables such as leeks, onions, and garlic, a nod to the Turdetani’s knowledge of local flora. Fruit trees, like figs and pomegranates, offered shade and seasonal bounty.

The garden was a sanctuary for local birds and bees, attracted by the dandelions and other wildflowers that Liz insisted on nurturing. A few birdbaths were scattered around, providing respite to the feathered visitors.

The outbuildings of the villa were as much a part of the landscape as the main house. Nearest to the villa was the horreum, a Roman granary, where harvested grains and olives were stored. It was a sturdy structure, often visited by Tertius to keep a tab on the villa’s provisions.

Not far from the horreum was the pottery workshop. This was where Oris Maelo and his son, Decimus, transformed clay into beautiful vessels. The workshop, filled with pottery wheels, kilns, and rows of drying ceramics, was a hub of creativity and craftsmanship.

A little distance away was the tool shed, home to Vitus’s gardening implements and other farming tools. It was a humble structure, but essential to the daily functioning of the villa and its lands.

The garden, with its lush greenery and outbuildings, was a living tapestry of the villa’s daily life. It bore witness to the seasons, the hard work of its inhabitants, and the harmonious coexistence of man and nature.

“So, what do we do now?” asked Fox. Call it a sixth sense or a seventh sense, but he knew before he got the answer that he was going to regret it somehow. He had always been too quick to ask questions, and his years at the service of Master Gibbon apparently hadn’t made this habit go away.

“Well dear assistant. You can start with the dishes,” said Kumihimo with a broad smile, “and then clean the rest of the hut.”

Fox swallowed. He looked at the piles of stuff everywhere. What had seemed fun a moment before, playing with Kumihimo’s recipes and what he still thought of as her power toys, had turned into a chore. Though, his eyes stopped on a paquet he hadn’t notice before. It looked heavy and wet. The wrapping was not completely closed on the top and he thought he could see pink. That renewed his energy and motivation. Thinking that afterwards they would revive Gorrash suddenly made him feel the cleaning would be done in no time. He simply needed to be methodical and tackle each task one by one.

First the glassware, it was the most fragile and took most of the space outside.

Fox didn’t know how long he had been at it. He had been so engrossed in the cleaning, that he hadn’t paid attention to the others who had been talking all along. He felt a little exhausted and his stomach growled. How since he last ate. His body was stiff with all the movements and carrying stuff around. He was about to ask for some food when he noticed Kumihimo and Rukshan were still talking. The Fae looked exhausted too, he had his panda eyes, but he seemed captivated by their discussion.

“Things are going to get worse,” was saying Kumihimo, “We need everybody ready for what’s coming next. The fires were just the beginning.”

“Do you have anything to eat?” asked Fox not knowing what else to contribute to the conversation. But he knew he wouldn’t be of any help if he didn’t eat something first.

Glynis had been staying with the Bakers for a few weeks now, since the night of the storm.

She had taken refuge on their porch, as the gale tore through the pitch black streets, blowing anything not nailed down along in its wake. Intending to leave early before anyone in the house was up, she found a dry corner and wrapping her burka tightly around herself for warmth, she fell into a deep, exhausted sleep.

“Well, what have we here! Good Lord, girl, you must be freezing!” said a booming male voice. Glynis started awake, trying to work out where she was.

“This is no place to be in a storm. Come inside to the warm,” the man continued. And before she could gather her senses and protest, he took hold of her arm and gently but firmly pulled her into a cosy warm kitchen already filled with the delicious aroma of baking bread.

“Anne!” he called to his wife, “look what I found on the front porch!”

“Oh you poor dear! You are shivering! Come with me and let’s get you into some dry clothes.”

Anne Baker was a portly woman with a purple scar covering a large part of her face. Glynis never mentioned the scar and likewise the Bakers never said a word about the dragon scales, seeming completely unperturbed by Glynis’s unusual appearance. In fact, in their kindly presence, Glynis sometimes found herself forgetting.

To repay their kindness, Glynis helped with the baking. With her knowledge of herbs, she had created several new recipes which had proved to be most popular with the customers. This delighted the Bakers; they were people who were passionate about what they did and every little detail mattered. They rose early, often before the sun was up, to lovingly prepare the dough; in their minds they were not merely selling bread; they were selling happiness.

Glynis was most surprised the day the stone parrot arrived in the mail.

“This is very peculiar. Who is this “laughing crone” and what does she want with me,” said Glynis to the stone parrot. “I wonder, did Aunt Bethell send you to me? She is very good at stories — perhaps she sent me the dream as well.”

But surely Aunt Bethell would not call herself a laughing crone! No, that is definitely not her style!

Glynis stared at the concrete parrot and an uneasy feeling had come over her. “You are alive inside that concrete, aren’t you,” she whispered, patting the stone creature gently. “Have you too been caught in the spell of some malevolent magician?”

As the crow flies, Glenville is about 100 miles from the Forest of Enchantment.

“What a pretty town!” tourists to the area would exclaim, delighted by the tree lined streets and quaint houses with thatched roofs and brightly painted exteriors. They didn’t see the dark underside which rippled just below the surface of this exuberant facade. If they stayed for more than a few days, sure enough, they would begin to sense it. “Time to move on, perhaps,” they would say uneasily, although unsure exactly why and often putting it down to their own restless natures.

Glynis Cotfield was born in one of these houses. Number 4 Leafy Lane. Number 4 had a thatched roof and was painted a vibrant shade of yellow. There were purple trims around each window and a flower box either side of the front door containing orange flowers which each spring escaped their confines to sprawl triumphantly down the side of the house.

Her father, Kevin Cotfield, was a bespectacled clerk who worked in an office at the local council. He was responsible for building permits and making sure people adhered to very strict requirements to ‘protect the special and unique character of Glenville’.

And her mother, Annelie … well, her mother was a witch. Annelie Cotfield came from a long line of witches and she had 3 siblings, all of whom practised the magical arts in some form or other.

Uncle Brettwick could make fire leap from any part of his body. Once, he told Glynis she could put her hand in the fire and it wouldn’t hurt her. Tentatively she did. To her amazement the fire was cold; it felt like the air on a frosty winter’s day. She knew he could also make the fire burning hot, if he wanted. Some people were a little scared of her Uncle Brettwick and there were occasions—such as when Lucy Dickwit told everyone at school they should spit at Glynis because she came from an ‘evil witch family’—when she used this to her advantage.

“Yes, and I will tell my Uncle to come and burn down your stinking house if you don’t shut your stinking stupid mouth!” she said menacingly, sticking her face close to Lucy’s face. “And give me your bracelet,” she added as an after thought. It had worked. She got her peace and she got the bracelet.

Aunt Janelle could move objects with her mind. She set up a stall in the local market and visitors to the town would give her money to watch their trinkets move. “Lay it on the table”, she would command them imperiously. “See, I place my hands very far from your coin. I do not touch it. See?” Glynis would giggle because Aunt Janelle put on a funny accent and wore lots of garish makeup and would glare ferociously at the tourists.

But Aunt Bethell was Glynis’s favourite—she made magic with stories. “I am the Mistress of Illusions,” she would tell people proudly. When Glynis was little, Aunt Bethell would create whole stories for her entertainment. When Glynis tried to touch the story characters, her hand would go right through them. And Aunt Bethell didn’t even have to be in the same room as Glynis to send her a special magical story. Glynis adored Aunt Bethell.

Her mother, Annelie, called herself a healer but others called her a witch. She concocted powerful healing potions using recipes from her ’Big Book of Spells’, a book which had belonged to Annelie’s mother and her mother before her. On the first page of the book, in spindly gold writing it said: ‘May we never forget our LOVE of Nature and the Wisdom of Ages’. When Glynis asked what the ‘Wisdom of Ages’ meant, her mother said it was a special knowing that came from the heart and from our connection with All That Is. She said Glynis had the Wisdom of Ages too and then she would ask Glynis to gather herbs from the garden for her potions. Glynis didn’t think she had any particular wisdom and wondered if it was a ploy on her mother’s part to get free labour. She obeyed grudgingly but drew the line at learning any spells. And on this matter her father sided with her. “Don’t fill her mind with all that hocus pocus stuff,” he would say grumpily.

Despite this, the house was never empty; people came from all over to buy her mother’s potions and often to have their fortunes told as well. Mostly while her father was at work.

Glynis’s best friend when she was growing up was Tomas. Tomas lived at number 6 Leafy Lane. They both knew instinctively they shared a special bond because Tomas’s father also practised magic. He was a sorcerer. Glynis was a bit scared of Tomas’s Dad who had a funny crooked walk and never spoke directly to her. “Tell your friend you must come home now, Tomas,” he would call over the fence.

Being the son of a sorcerer, Tomas would also be a sorcerer. “It is my birthright,” he told her seriously one day. Glynis was impressed and wondered if Tomas had the Wisdom of Ages but it seemed a bit rude to ask in case he didn’t.

When Tomas was 13, his father took him away to begin his sorcery apprenticeship. Sometimes he would be gone for days at a time. Tomas never talked about where he went or what he did there. But he started to change: always a quiet boy, he became increasingly dark and brooding.

Glynis felt uneasy around this new Tomas and his growing possessiveness towards her. When Paul Ackleworthy asked her to the School Ball, Tomas was so jealous he broke Paul’s leg. Of course, nobody other than Glynis guessed it was Tomas who caused Paul’s bike to suddenly wobble so that he fell in the way of a passing car.

“You could have fucking killed him!” she had shouted at Tomas.

Tomas just shrugged. This was when she started to be afraid of him.

One day he told her he was going for his final initiation into the ‘Sorcerer Fraternity’.

“I have to go away for quite some time; I am not sure how long, but I want you to wait for me, Glynis.”

“Wait for you?”

He looked at her intensely. “It is destined for us to be together and you must promise you will be here for me when I get back.”

Glynis searched for her childhood friend in his eyes but she could no longer find him there.

“Look, Tomas, I don’t know,” she stuttered, wary of him, unwilling to tell the truth. “Maybe we shouldn’t make any arrangements like this … after all you might be away for a long time. You might meet someone else even …. some hot Sorceress,” she added, trying not to sound hopeful.

Suddenly, Glynis found herself flying. A gust of wind from nowhere lifted her from her feet, spun her round and then held her suspended, as though trying to decide what to do next, before letting her go. She landed heavily at Tomas’s feet.

“Ow!” she said angrily.

“Promise me.”

“Okay! I promise!” she said.

Her mother’s face went white when Glynis told her what Tomas had done.

That evening there was a gathering of Uncle Brettwick and the Aunts. There was much heated discussion which would cease abruptly when Glynis or her father entered the room. “Alright, dearie?” one of the Aunts would say, smiling way too brightly. And over the following days and weeks there was a flurry of magical activity at 4 Leafy Lane, all accompanied by fervent and hushed whisperings.

Glynis knew they were trying to help her, and was grateful, but after the initial fear, she became defiant. “Who the hell did he think he was, anyway?” She left Glenville to study architecture at the prestigious College of Mugglebury. It was there she met Conway, who worked in the cafe where she stopped for coffee each morning on her way to class. They fell in love and moved in together, deciding that as soon as Glynis had graduated they would marry. It had been 4 years since she had last seen Tomas and he was now no more than a faint anxious fluttering in her chest.

It was a Friday when she got the news that Conway had driven in the path of an oncoming truck and was killed instantly. She knew it was Friday because she was in the supermarket buying supplies for a party that weekend to celebrate her exams being over when she got the call. And it was the same day Tomas turned up at her house.

And it was then she knew.

“You murderer!” she had screamed through her tears. “Kill me too, if you want to. I will never love you.”

“You’ve broken my heart,” he said. “And for that you must pay the price. If I can’t have you then I will make sure no-one else wants you either.”

“You don’t have a heart to break,” she whispered.

Dragon face,” Tomas hissed as he left.

Glynis returned to Glenville just long enough to tell her family she was leaving again. “No, she didn’t know where,” she said, her heart feeling like stone. Her mother and her Aunts cried and begged her to reconsider. Her Uncle smouldered in silent fury and let off little puffs of smoke from his ears which he could not contain. Her father was simply bewildered and wanted to know what was all the fuss about and for crying out loud why was she wearing a burka?

The day she left her mother gave her the ‘Book of Spells”. Glynis knew how precious this book was to her mother but could only think how heavy it would be to lug around with her on her journey.

“Remember, Glynis,” her mother said as she hugged Glynis tightly to her, “the sorcerers have powerful magic but it is a mere drop in the ocean in comparison to the magic of All That Is. You have that great power within you and no sorcerer can take take that from you. You have the power to transform this into something beautiful.”