An Exclusive Q&A with Dr. Owen Emmerson
On Hilary Mantel's portrayal of Mary Boleyn, William Carey, and Cromwell’s Circle.
Hever Castle has once again enriched its remarkable collection of sixteenth-century portraiture with an exciting new addition: a portrait of William Carey, the dashing courtier, royal favourite, and first husband of Mary Boleyn, who herself grew up at Hever. Acquired through leading art dealer Philip Mould, this evocative painting sheds fresh light on a man often overshadowed by his more famous connections. The unveiling of the portrait has sparked keen interest not only among historians but also in unexpected quarters, as new layers of Tudor history continue to emerge from the shadows. Comedian Josh Widdicombe, who discovered Carey was one of his ancestors on BBC’s Who Do You Think You Are?, was chosen for the unveiling.
In the lead-up to Wolf Hall Weekend 2026, we spoke to Dr. Emmerson about how this portrait came into his hands, what it means for our understanding of Mary and William, and how Hilary Mantel’s fictional world—especially her portrayal of Mary Boleyn’s conversations with Thomas Cromwell—echoes deeper truths about overlooked figures in Tudor history.
Dr. Owen Emmerson: On Hilary Mantel's portrayal of Mary Boleyn, William Carey, and Cromwell’s Circle
WHW - You recently acquired a long-lost portrait of William Carey—what did that moment mean to you personally, and what does it add to our understanding of his role at Henry VIII’s court?
Owen - Acquiring this portrait of William Carey has been an incredibly special moment for all of us at Hever Castle. It’s wonderful to be able to add another Boleyn family member to our already remarkable collection of Tudor portraiture, especially given that only two known likenesses of William survive. This painting, likely commissioned by William’s son, Henry Carey, offers so much more than just a face. The portrait deepens our understanding of William’s significance at Henry VIII’s court. He’s shown wearing sumptuous cloth of gold and the finest furs, underlining his wealth and status. Even more striking is that, as a third cousin to Henry VIII, William displays his arms quartered with those of the king, reminding us just how well-connected he was. It’s a timely reminder that the Boleyn family’s rise didn’t begin, or end, with Anne Boleyn. William’s prestigious marriage to Mary Boleyn and his prominent position at court speak volumes about the family’s importance and ambition well before Anne catapulted the Boleyn fortunes further as Henry VIII’s second queen. To bring his image back to Hever, where Mary spent her early years, feels like restoring a missing piece of the family story, and it’s an absolute privilege to share that with our visitors.
WHW - In Wolf Hall, Hilary Mantel presents William Carey not as a romantic victim but as a capable, court-savvy man. How does that square with the historical Carey you’ve uncovered?
Owen - I think Hilary Mantel got the mettle of William Carey exactly right. For far too long, he’s been reduced to a bit part in the Boleyn saga, cast simply as the cuckolded husband of Mary Boleyn. But when you look at the historical record, a much more compelling figure emerges. William Carey was handsome, athletic, and astute. He was firmly embedded in Henry VIII’s inner circle, most notably as the King’s jousting partner. That’s no small detail. To ride beside Henry at events like the Field of Cloth of Gold wasn’t just a matter of sport; it was a position of privilege, power, and intimacy. Time with the King was everything at the Tudor court, and Carey had it in spades.
Mantel’s portrayal recognises that William wasn’t a passive figure. He was a rising star, a trusted courtier, and very likely someone with a great deal of political and social skill. Her version aligns closely with the man we see through contemporary records, and I hope that people seeing this portrait at Hever allows people to get a better sense of his story.
WHW - Mary Boleyn often lives in the shadow of her sister Anne—do you think Mantel was right in giving Mary a more thoughtful, quietly observant voice.
Owen - It’s important to be cautious when trying to build a full picture of Mary Boleyn because we only have one surviving letter in her own words. That makes it very difficult to truly know her personality or inner thoughts in any complete sense. However, that single letter reveals a remarkable amount about the kind of woman, indeed the kind of Boleyn woman, Mary was. When she was banished from court for marrying William Stafford without her family’s or the King’s consent, she wrote to Thomas Cromwell that she would “rather beg my bread with him than to be the greatest queen in Christendom.” That one sentence tells us that Mary could be every bit as bold and defiant as her sister Anne. Yet unlike Anne, Mary ultimately flourished in the shadows of the crown. She was the last of her immediate family to die, surviving the violent political storms that claimed her sister and brother. And, of course, her descendants now sit on the throne of England. In some ways, Mary’s quieter, more cautious path may well have been the wiser one, and it’s a fascinating reminder that strength and resilience come in many forms.
WHW - There’s a striking moment in Wolf Hall when gossip swirls about Mary Boleyn wishing to marry Thomas Cromwell. Do you think that’s just Mantel’s invention—or does it hint at something plausible within the court’s social fabric?
Owen - This part of Mantel’s work is very much a work of fiction: there’s no historical evidence to suggest a romantic connection between Mary Boleyn and Thomas Cromwell. Rather than reflecting something plausible in terms of fact, I do like its inclusion as hints at something possible within the context of the Tudor court, even if it isn’t plausible historically. After the upheaval of 1485 and the Tudor takeover, England was a divided kingdom with a shaken nobility. The Tudors increasingly relied not just on aristocratic bloodlines, but on the talents of brilliant, ambitious men from more humble origins, like Thomas Wolsey and Thomas Cromwell. That moment in Wolf Hall serves more as a reminder of the social fluidity of the age than a credible historical event.
WHW - After William Carey’s death, Mary Boleyn falls into a kind of social freefall. Why do you think Cromwell, despite his age and lowly background, becomes a figure of interest for her, both in Mantel’s telling and in historical terms?
Owen - After William Carey’s death in 1528, Mary Boleyn did experience a kind of social freefall. She lost both status and financial security, and with no powerful husband or independent wealth, her position at court became increasingly precarious. Thomas Boleyn, Mary’s father, had to be persuaded to provide for Mary financially. In Wolf Hall, Hilary Mantel imagines that Thomas Cromwell might have become a figure of interest to Mary not because of romance, but because he represented something powerful in a changing world. Despite his lowly background and age, Cromwell was rising swiftly: an embodiment of the new kind of man gaining influence at Henry VIII’s court through skill, intelligence, and loyalty rather than noble birth. As we’ve touched upon, historically, there’s no evidence that Mary ever pursued Cromwell or viewed him romantically. But in narrative terms, Mantel’s choice is insightful. Mary may have recognised, like others, that Cromwell was a man to be reckoned with. He could have been viewed a key to survival in an increasingly unpredictable political landscape. I think Mary’s interest, as imagined by Mantel, reflects less about love and more about the shifting nature of power and opportunity in Tudor England.
WHW - Do you see Mary as politically sidelined—or as portrayed by Mantel - did she in her own quiet way, wield influence that’s been overlooked by historians?
Owen - I think it’s possible to see Mary Boleyn as both politically sidelined and quietly influential. After her marriage to William Stafford in 1534, without the consent of her family or the King, she was banished from court and effectively removed from the sphere of power. That’s often read as the end of her influence. But any woman who made choices that flouted the rigid social expectations of the Tudor world was, in her own way, wielding political power. By marrying for love rather than strategy, Mary asserted her agency in a system designed to deny it. That act cost her dearly, but it was also a deeply political gesture, one that challenged the idea that women, particularly women of her status, were simply pawns in dynastic games. Mantel’s portrayal of Mary recognises that influence doesn’t always come from proximity to power: it can also come from defying it. And perhaps Mary’s quieter, more personal path has been overlooked precisely because it didn’t follow the expected script of courtly ambition.
WHW - What do you make of the emotional texture Mantel brings to the conversations between Mary and Cromwell? Does this influence your understanding of both characters?
Owen - I think that Mantel brings a rich emotional texture to the conversations between Mary Boleyn and Thomas Cromwell, layered with wit, melancholy, defiance, and an unspoken understanding between two people on the margins of courtly favour. These imagined exchanges don’t reflect documented history, but they do offer a compelling emotional truth that deepens our sense of both characters. For Mary, Mantel gives her a voice that’s often denied in the historical record, a woman who has known power and lost it, but who retains her dignity, clarity, and resolve. For Cromwell, these moments reveal a rare softness and empathy, reminding us that behind the machinery of politics was a man shaped by loss, loyalty, and an understanding of vulnerability. While fictional, these conversations invite us to reconsider both figures not as footnotes or functionaries, but as fully realised people navigating a brutal world with whatever agency they could muster. That emotional realism has certainly influenced how I think about them.
WHW - Finally, why do you think Mantel chose to frame characters like Mary and William Carey not as side notes—but as deeply human presences in Cromwell’s world?
Owen - I think Mantel chose to frame characters like Mary Boleyn and William Carey as deeply human presences in Cromwell’s world because Cromwell himself was a side note - until he wasn’t. Before he entered the perilous inner sphere of Henry’s court, his life was filled with people who hovered at the edges of power: courtiers on the rise or fall, servants, merchants, and those whose fortunes were intimately tied to the shifting tides of royal favour. By giving Mary and William such vivid humanity, Mantel shows how even those often written off as minor figures were part of the intricate web of relationships, loyalties, and ambitions that defined court life. In Cromwell’s eyes, and in Mantel’s telling, no one is merely background. Everyone is a potential ally, source of information, or mirror reflecting the dangers and opportunities of the Tudor world. It’s a powerful reminder that history isn’t just shaped by kings and queens, but by the countless individuals around them, each with their own stories and influence, even if history has tended to overlook them.
To hear more from Dr. Owen Emmerson—and to explore the world of the Wolf Hall Trilogy from new and revealing angles—join us for the Wolf Hall Weekend on June 6–7, 2026, beside the Tower of London. With a rare performance of The Mirror and The Light, contributions from leading historians, and the theme of Magnificence at its heart, this will be an unforgettable tribute to Hilary Mantel’s legacy.
Full programme and ticket information: https://wolfhallweekend.com/about
And if you haven’t already, subscribe to our Substack newsletter for more exclusive content, speaker updates, and behind-the-scenes insights:
