Following on the heels of the success of
his 1990 Tigana, Guy Gavriel Kay’s
1992 A Song for Arbonne finds the
author moving in a slightly new direction.
Toning down the magic but upping the ante from a soft-fantasy/romance
point of view, the novel is almost a paean to the virtues of femininity. Set in a fantasy version of medieval France
and focusing on the Court of Love, music is once again an art form at
play. No wizards or powerful displays of
magic, this time around court politics which value musical composition and
performance are set against the lascivious and aggressive dogma of the
neighboring country, Gorhaut. Style
uneven, the remainder is a typical Kay story, heroism, religious conflict,
honor, and loyalty carrying the day.
A
Song for Arbonne
features a variety of characters and points of view. The main character is Blaise, a mercenary
warrior from Gorhaut who now makes his home in Arbonne working for the
nobility. An outcast, Blaise’s father is
the religious leader of the Gorhauts, a country firmly ensconced in the
male-centric beliefs of the deity Corrascon.
Arbonne a follower of the female god Rian, a religious/cultural knife
threatens to cut Blaise in two as he balances his heritage with the ambitions
of the queens and dukes, troubadours and ladies of Arbonne he has sworn to
protect. Assassination attempts, court
intrigue, and moments of destiny beyond his control, it is not long before war
threatens the land and Blaise must declare his allegiance.
