I love to see and hear about the process of creating art. Whether it’s writing, painting, acting, sculpting or any of the other limitless expressions of human creativity, understanding how it is achieved fascinates me.
During our recent trip to Cornwall, Laura and I got to see inside an artist’s studio. We saw paintings in progress, tools of the trade, learned a little about how she developed her work. I was enraptured.
That feeling of living inside art, of seeing how it works and how it moves people, is something that Guy Gavriel Kay has captured beautifully in Sailing to Sarantium.
Art and artisans
Sailing to Sarantium is the story of Caius Crispus, an expert mosaic maker. He lives in a world based on the eastern Mediterranean in the period a century or so after the fall of Rome. Following his artistic partner’s summons to go east and decorate the great dome of a temple being built in Sarantium, Crispin travels a rough road to a city of wonder and intrigue.
I loved how much we got into Crispin’s head as an artist. He sees the colours and contrasts in the world around him. He is overwhelmed by art when it is beautiful and he is thoughtful about its potential and flaws. He is an expert artisan, and the details of his knowledge and world view make him completely convincing in that role. They also helped me, as a reader, to understand the world as he saw it and to be drawn into his emotional world.
Other characters demonstrate similar levels of expertise – a grey-haired alchemist who has created unique wonders; a ruthless and wily political schemer turned emperor; the finest dancer in the city of Sarantium. Characters are often judged for their expertise and dedication to their field, and that dedication seems to be held up by the book as a good thing. But it is Crispin who carries us through the story.
Religion as construct
As with The Lions of Al-Rassan, Kay explores religion as a social construct. We are given little clear indication as to the truth of the characters’ beliefs, but those beliefs are central to the story. From the forced converts continuing pagan sacrifices in the woods to the religious schisms restricting and enabling art, religion is a complicated matter, one that people shape.
Religion does not just happen to people in this book. There are moments of startling emotion that could be considered divine revelation, but it is up to the characters how to respond and what to believe. Religion is a choice, and this human, social representation of religion is one that I really enjoyed.
For all that he peers behind the scenes of art and shows the human side of religious experience, Kay stills creates a sense of wonder. That wonder lies in how we are moved by art, by passion, by moments of human contact. That feeling left me utterly enthralled.
And though Kay lets us peer into the workings of the mosaic maker’s craft, he still left me bewildered and in awe at his own craft. This is a big book, and a slow paced one. Yet I remained passionately engaged throughout, fascinated by every moment, rushing towards each new page.
And I don’t know why.
Seriously, I spend hours every week listening to podcasts about writing, reading about writing, practising my own craft. And I still don’t know how, in technical detail and technique, he kept me so engaged in a book whose size and pacing would normally put me off.
As I read more of his books – next up is the sequel, Lord of Emperors – I hope to work at least some of this out. But for now I have experienced the pleasure both of learning a little more about an artist’s craft and of remaining in awe at the wonders that art can achieve.
That is some damn fine reading.
Other opinions are available
So, who else has read this? I know some of you have. What did you think? Did you enjoy it? Why? Or why not? What were your favourite elements? There’s space here for comments and discussion, please feel free to use it.