McKillip, Patricia A. - Song for the Basilisk
Sun, Oct. 24th, 2004 08:33 pmIn the first chapter of the book, we're introduced to Rook Caladrius, the sole survivor of a horrific fire that has obliterated Tormalyne Palace and, thus, Tormalyne House. He is subsequently spirited away to become a bard on far away Luly, his only clue of his heritage being half-remembered nightmares of fire. In the end, he decides to make a trip to the hinterlands in order to unearth his own past.
However, he returns to the island without a clue, settles down with the woman he loves, has a son. He stays on the island for another decade or so, deciding that what's buried is best buried.
From this, I pinpointed part of why I love McKillip -- she doesn't write stories of young, adolescent male heroes with an unknown heritage going out to find said heritage and conquer countries or Undefeatable Evil. Her people have families and pasts, they are connected to the world they live in, rather than trampling heroically through and rescuing it without ever forming ties. I had thought from the opening chapter that the book would be on Rook Caladrius discovering his destiny and avenging his family, and while it is, it is also about his son, about his music, and in the end, about the futility of vengeance. I think this book is the anti-quest-fantasy; it has all the trappings, but McKillip very delicately sidesteps all the normal pitstops, which I why I love the ending as much as I do.
The struggle of Tormalyne House reminds me a little of Tigana, actually, except the part played by Alessan and his band of musician rebels is taken by a group of very inexperienced and idealistic musicians with no experience in war or rebellion. They're untried, like the students in Les Miserables. Meanwhile, the lost heir meanders about and is never really invested in restoring the broken house to its former glory. Then, of course, there is the music, which I loved (particularly Damiet's colored songs), and the lives of the musicians intersecting with the larger than life drama playing out in center stage.
( Spoilers for the ending )
Links:
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sophia_helix's review
However, he returns to the island without a clue, settles down with the woman he loves, has a son. He stays on the island for another decade or so, deciding that what's buried is best buried.
From this, I pinpointed part of why I love McKillip -- she doesn't write stories of young, adolescent male heroes with an unknown heritage going out to find said heritage and conquer countries or Undefeatable Evil. Her people have families and pasts, they are connected to the world they live in, rather than trampling heroically through and rescuing it without ever forming ties. I had thought from the opening chapter that the book would be on Rook Caladrius discovering his destiny and avenging his family, and while it is, it is also about his son, about his music, and in the end, about the futility of vengeance. I think this book is the anti-quest-fantasy; it has all the trappings, but McKillip very delicately sidesteps all the normal pitstops, which I why I love the ending as much as I do.
The struggle of Tormalyne House reminds me a little of Tigana, actually, except the part played by Alessan and his band of musician rebels is taken by a group of very inexperienced and idealistic musicians with no experience in war or rebellion. They're untried, like the students in Les Miserables. Meanwhile, the lost heir meanders about and is never really invested in restoring the broken house to its former glory. Then, of course, there is the music, which I loved (particularly Damiet's colored songs), and the lives of the musicians intersecting with the larger than life drama playing out in center stage.
( Spoilers for the ending )
Links:
-
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