(Tales of Robin Hood)
By Charlene Newcomb
"Rogues and Kings" is not a retelling of the Robin Hood legend so much as a deliberate dismantling of it. Charlene Newcomb resists folkloric shorthand and romantic embellishment, instead grounding her narrative in political consequence, familial loyalty, and the lived costs of resistance. The result is a richly textured work of historical fiction that treats legend not as myth, but as history shaped by necessity, secrecy, and sacrifice.
At its centre stands Robin Fitzwilliam — also known as Sir Robin du Louviers and, to his enemies, Robin Hood. These identities are not decorative aliases but hard-earned survival mechanisms, forged through years of service, exile, and quiet defiance. This Robin is no greenwood fantasy hero. He is a seasoned soldier and strategist whose restraint is born of experience rather than fear. What defines him is not daring, but deliberation. Every act of rebellion is weighed against its potential cost, particularly to those he loves. Danger follows him, but it is never invited lightly, and responsibility is ever-present in his decisions.
That emphasis on responsibility shapes the novel’s understanding of heroism. Newcomb does not frame leadership as spectacle or bold gesture, but as foresight — the ability to anticipate how one action may ripple outward and endanger allies, family, or innocents. In doing so, "Rogues and Kings" distinguishes itself from more romanticised interpretations of the legend. Resistance here is not glamorous; it is necessary, cautious, and morally complex.
While Robin provides the moral gravity of the narrative, the story unfolds largely through the perspective of his son, Richard — a choice that proves both effective and emotionally resonant. Richard is neither a reluctant pawn nor blind to the danger of his position. Though compelled into service within King John’s household, he quickly recognises the unique vantage point he occupies. Rather than resist it, he embraces the opportunity to be of use. His role as a spy is not imposed thoughtlessly; it is accepted with clear-eyed resolve and a growing sense of purpose.
Richard’s arc is one of the novel’s great strengths. Through him, Newcomb explores the tension between obedience and conscience, loyalty and survival. He is young, but never naïve. His desire to serve the Hood — and by extension, his family — lends the story emotional immediacy. This is not a coming-of-age defined by hesitation, but by maturity forged under pressure. Richard understands the risks, accepts them, and acts anyway.
Balancing this seriousness is Allan a Dale, one of the novel’s most compelling and unpredictable figures. Once Robin’s squire before becoming an outlaw in his own right, Allan brings adaptability, irreverence, and a welcome strain of dark humour to the narrative. His devil-may-care attitude masks sharp intelligence and unwavering loyalty. Neither the reader nor the rest of the Hood ever knows quite what Allan will do next — only that when it matters, he will be there. His presence injects energy into the story while reinforcing the bonds that hold the outlaw band together.
Set against these figures is King John, portrayed with chilling restraint. Newcomb avoids caricature, instead presenting a ruler defined by paranoia, cruelty, and absolute authority. His court is governed by fear rather than loyalty, and power is exercised through whim as much as law. As the novel progresses, the erosion of his physical strength strips away any illusion of divine right or invincibility, exposing the fragility beneath the crown. It is an unsettling but effective portrait of tyranny untempered by conscience.
What allows these character dynamics to resonate so strongly is Newcomb’s unflinching attention to historical reality. Thirteenth-century England is not merely a backdrop, but an active force shaping every decision. Violence in "Rogues and Kings" is rarely confined to the clash of armed men. Instead, it unfolds through scorched-earth policies: villages burned, crops destroyed, civilians terrorised, and lives shattered to enforce obedience. Power is exercised through fear rather than honour, and justice is arbitrary at best. This depiction strips away any lingering romanticism and reinforces the novel’s central truth — that resistance emerges not from glory, but from survival in the face of sanctioned brutality.
Perhaps most striking is the book’s refusal to offer easy resolutions. Victory is partial. Survival comes at a cost. Love, loyalty, and defiance leave scars that do not fade neatly. Rather than glorifying resistance, "Rogues and Kings" examines its price — to families, friendships, and the land itself. History presses in on every page, reminding the reader that rebellion is rarely clean, and never free. In doing so, Newcomb delivers far more than another Robin Hood story. "Rogues and Kings" is a meditation on power, legacy, and moral responsibility, told through characters who understand that endurance can be as radical as defiance. By replacing mythic heroics with lived experience, the novel reclaims legend as history.
"Rogues and Kings" stands apart not because it reimagines Robin Hood, but because it refuses to romanticise rebellion. Grounded in political reality, emotional consequence, and familial devotion, it offers a thoughtful, rigorous work of historical fiction. Readers seeking a narrative that treats legend as lived history rather than folklore will find this novel both compelling and deeply memorable.
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Her award-winning Battle Scars trilogy is set in the 12th century during the reign of Richard the Lionheart. Her writing roots are in the Star Wars Expanded Universe (aka Legends) where she published 10 short stories in the Star Wars Adventure Journal, and published the original novel Echoes of the Storm.
Char returned to medieval times with Rogue and her latest novel Rogues & Kings, both in her Tales of Robin Hood series.
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Your book sounds amazing! Congratulations on such a fabulous review.
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