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Song for the Basilisk, by Patricia A. McKillip
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From the World Fantasy Award-winning author of The Bards of Bone Plain.
Something half-woke in him, and he froze on the threshold, seeing misshapen faces billow in the flames.
As a child, Rook had been taken in by the bards of Luly, and raised as one of their own. Of his past he knew nothing—except faint memoires of fire and death that he'd do anything to forget.
But nightmares, and a new threat to the island that had become his own, would not let him escape the dreadful fate of his true family. Haunted by the music of the bards, he left the only home he knew to wander the land of the power-hungry Basilisk who had destroyed his family. And perhaps, finally, to find a future in the fulfillment of his forgotten destiny...
- Sales Rank: #560240 in Books
- Published on: 1999-12-01
- Released on: 1999-12-01
- Original language: English
- Number of items: 1
- Dimensions: 6.78" h x .89" w x 4.34" l,
- Binding: Mass Market Paperback
- 306 pages
From Publishers Weekly
In most of McKillip's novels (Winter Rose, etc.) and short stories, this veteran author, a World Fantasy Award winner (for Forgotten Beasts of Eld, 1975), uses words in precisely the same way her mages do, to shape images and create fantastic visions where none previously existed. Sometimes the images are grotesque and violent, but more frequently they are ethereal and exquisite. McKillip's new novel is no exception. In it, a royal child escapes fire and certain execution by hiding in the ashes of the castle fireplace. Flame and death fill his mind and shape his thoughts so he is invisible to his enemies. After he is discovered, his rescuers rename him "Caladrius. After the bird whose song means death," and send him to the bards living on Luly, the music school on a rock at the end of the world. There he is called Rook. He masters the picochet, a peasant instrument, loves Sirina and begets Hollis, a son. Thirty-seven years pass and his family's enemy, Arioso Pellior, patriarch of the house of Basilisk, again reaches out his hand to crush any remaining members of the house of Tourmalyne. Rook remembers that his name is Griffin Tourmalyne and he journeys home. There he becomes an impetus for revolution and an inspiration for the royal opera, which draws the novel's principals together for a performance before the Basilisk and his family. McKillip is at the top of her form in this sweeping story about the redeeming powers of kindness and the potentially deadly beauty of music.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
A young man denies his past for a life as a teacher of bards until a chain of events too compelling to ignore plunges him once more into a confrontation with the Prince of Berylon, who slaughtered an entire noble family to gain his throne. The author of Winter Rose (LJ 7/96) weaves a lyrical story of passion and revenge set in a Renaissance-like world where music and magic are one and the same. McKillip's luminous prose and compelling characters combine to produce a masterwork of style and substance. Highly recommended for most fantasy collections.
Copyright 1998 Reed Business Information, Inc.
From Booklist
One of the least-publicized American masters of fantasy returns with a tale told with her usual elegance. A child, later known as Rook, survives the massacre of his house to be rescued by bards and raised on a distant island, where he marries and settles down to a contented life. His only ties to the past are faint dreams that he tries to forget. Then the dreams turn into nightmares and the nightmares into violence. Rook must eventually visit the city of his birth to confront the destroyer of his house. The prose is lyrical, the themes of music and musicianship are woven into the story with great skill, basically archetypal characters and plot are brought to life with dozens of subtle touches, and McKillip's narrative technique is as her enthusiasts have come to expect. Maybe this is a trifle cerebral for some readers, yet surely they can admire the quality of McKillip's execution even if their emotions are not always fully engaged. Roland Green
Most helpful customer reviews
0 of 0 people found the following review helpful.
Can Music Defeat Great Evil?
By Nell
Patricia McKillip has few peers in writing fantasy fiction. Her stories unfold in such a way that you turn page after page, late into the night, and then reread one or two or more years later and still enjoy. The opening lines about the ash in the fireplace are haunting. I sometimes will reread those few paragraphs, again, even if I have just finished the book. The background is a land where several political families have ruled cooperatively only to have great injustice and imbalance brought by one family head's drive for power. The story follows the actions of a bard who is driven to know why he dreams of fire. Music is powerful and music is power in this land but it is not a simple thing nor easily wielded. There is graphic violence in the first chapter and death, suffering, and sorrow in several other places. Sexual activity is limited to expressions of feelings but no physicality or carnality. Considered YA (young adult), I, many decades past that, read McKillip's books with pleasure.
7 of 7 people found the following review helpful.
Another Marvelous Tale From Patricia McKillip
By Elyon
"The Book of Atrix Wolfe" remains for me the best work I have read by Patricia McKillip, and by comparison, this book does not quite measure up, at times being more dream-like in its exposition, not always clearly illuminating the basis for certain actions and resolutions. Nonetheless, the quality of dream contributes to much of the book's magic, combining with the author's rich prose and inimitable imagination to deliver a tale far superior to most other fantasy. And while not all the magic that takes place is clearly explained, as George R.R. Martin recently emphasized at one of his readings, magic retains its wonder through its causes and characteristics remaining partially hidden, otherwise becoming, through too clear an exposition, a mere reflection of science.
Similar to "Atrix Wolfe," and in some ways unlike the earlier "Winter Rose," McKillip returns here to meditations upon the meaning of words, while at the same time more fully exploring the secret powers of music first examined in the earlier "Riddle-Master" trilogy. These underlying themes follow a structure and tone more reminiscent of "The Book of Atrix Wolfe" than "Winter Rose," though the realm of faerie so prominent in the two former books are here barely hinted at. Instead, this tale is more archetypically fantasy, a tale of struggle between good and evil houses, revealed through the magical lyricism that has come to distinguish McKillip's work.
Those that have criticized a lack of emotional characterization I believe have missed a strong and metaphoric chord running throughout the work, as well as underestimated the significance of emotions shown through the subtle gestures and actions of the characters. While the inner dialogue found in "Winter's Rose" is absent, here it instead becomes fully realized in the nuances of the characters' actions: the assembling of a cage of mirrors by Luna, Damiet's fitful gestures, Caladrius' revelation of his character through the various guises he assumes and the instruments that he plays. While perhaps not as readily accessible as some of McKillip's earlier works, there is a richness of subtlety just as rewarding for those who read closely.
A marvelous book: one that will reward, as have all her recent works, repeated and additional reading. Though her tales may not offer ready appeal to those seeking swords and sorcery, there is little question that the author's works are among the few and very best that fantasy has to offer.
20 of 20 people found the following review helpful.
Brilliant and complex, must be savored rather than gobbled
By ealovitt
I tend to read fantasy novels at a gallop, eager to see what new trick or monster pops out at me on succeeding pages. Reading a good fantasy is usually like watching a good magic show: one surprise after another. There is suspense and breathless anticipation that is quickly resolved by the next sleight-of-hand.
However, Patricia McKillip's novels are not like a conjuror's act. They make you work. They make you read slowly. Her clues are subtle and woven into the beautiful, but dense thicket of her text. This is especially true in "Song for the Basilisk". The novel is every bit as complex and beautiful as its jacket painting by Kinuko Craft, but sometimes it made me feel like one of the princes trapped in the rose thicket outside of Sleeping Beauty's castle. I wanted to follow the little boy Rook from his hiding place in the ashes, through his coming-of-age as a bard, to his eventual confrontation with the monster who destroyed his family. But it was hard. I kept getting hooked on the beautiful scenery, and the complex subplots, and the other intricately fashioned characters. The ancient, blind Reve Iridia and her haunting music, and Luna Pellior, the Basilisk's daughter, were such strong and interesting characters that they positively upstaged Rook/Caladrius/Griffin every time they appeared with him on the same stage.
"Song for the Basilisk" is definitely worth reading, and savoring, and rereading. My only advice to the reader who is new to Patricia McKillip, is to start with her "The Riddlemaster of Hed" trilogy, or "The Book of Atrix Wolfe". They are equally magical books, but more accessible.
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