The Golden Key [Import] [Hardcover]

Melanie Rawn (Author), Jennifer Robertson (Author), Kate Elliot (Author)

Product Details

• Hardcover: 640 pages
• Publisher: Tor (March 7, 1997)
• Language: English
• ISBN-10: 0333664590
• ISBN-13: 978-0333664599
• Product Dimensions: 9.3 x 6.5 x 2.3 inches
• Shipping Weight: 2.8 pounds
• Average Customer Review: 4.3 out of 5 stars  See all reviews (46 customer reviews)
• Amazon Best Sellers Rank: #2,129,923 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful:

5.0 out of 5 stars Art and magic are the 'Key' to a superb, original fantasy, February 12, 2004

By 

Joy Fleisig (New York, NY United States) - See all my reviews
(REAL NAME)   

This review is from: The Golden Key (Daw Book Collectors) (Paperback)

A brilliant painter's ambition to become the greatest artist who ever lived - and unnaturally extend his life long enough to do so - causes him to pervert his family's magics in this wonderful and highly original fantasy from bestselling authors Melanie Rawn, Jennifer Roberson, and Kate Elliot. In a setting similar to medieval/Renaissance Spain or Italy (one of my favorite historical periods), the authors create here a magnificent canvas of beauty, love, bravery, cruelty, treachery, jealousy, political infighting, religious pageantry, war, plague, revolution, and, of course, artistic genius. As others have commented, this is not the standard 'hero/heroine on a quest' or 'wizard waves wand' fantasy, and all the richer for it.

In the duchy of Tira Virte works of art are not only valued for their beauty, but are used in lieu of written legal documents for treaties, wills, marriages, etc. One family of painters, the Grijalvas, have the secret of using magic to alter the reality that they depict in their paintings. The Gifted Limners (all male, with one exception) who have this power use their own body fluids to activate the spells, so they age and die very quickly, and are sterile. The Grijalvas also have to endure popular prejudice and religious discrimination because are descendants of Tza'ab bandits who raped Tira Virtean noblewomen. As well, they have to put up with the machinations of their rival family, the Serranos. Still, the Gifted Limners use their skills to bring peace and prosperity to Tira Virte and to support the rule of the do'Verrada ducal family. Then one young Limner, Sario Grijalva, obsessed with finding out how the magic works after seeing another family member disciplined by it, learns secrets hidden even from the leaders of the Grijalva family from an ancient Tza'ab mystic, whom he murders. Using his extraordinary artistic talent and his new powers he not only imprisons his adored cousin Saavedra in a portrait in a fit of jealous rage, but also steals the bodies of the most talented Gifted Limners of the next 360 years. Despite his powers, he is constrained by both his need to keep his identities secret and by the quirks of fate. Over this time Sario also tries to use his talents to control Tira Virtean politics. First he becomes involved in the marital warfare between a saintly Duchess and her husband, who remains loyal to his mistress (not coincidentally, the mother of a brilliant Limner whose body Sario wants to steal), and then attempts to thwart a democratic revolution by painting a dead princess back to life. After all this time, will a prodigiously talented but magically un-Gifted young painter be able to finally thwart Sario's schemes and free Saavedra?

Rawn, Roberson and Elliott create not only a large cast of unforgettable characters and an extraordinarily intelligent and perhaps unique magic system (based on floral symbolism), but an entirely believable society rich in detail from the grand sweep of history to the subtleties of everyday living. In particular, the role of religion (both Tira Virtean and Tza'ab) is superbly handled. Most important of all in a book about art, their descriptions of the paintings are so rich and detailed one can almost see them and their creation. Furthermore, the story is so seamless one would never know that there are three different authors if one didn't look at the cover. Speaking of the cover, Michael Whelan's work here is marvelous - and the picture of Sario is a self-portait of Whelan! The only problem is that in the first book a few too many points are beaten into our heads, such as the fact that the Grijalva painting guide 'The Folio' and the Tza'ab holy book 'Kita'ab' are one and the same. Also, one or two of the pseudo-Spanish expressions are a bit overused. Despite this, the 900 pages just flew by, and I actually wanted more.

If in addition to fantasy you have any interest in art or Mediterranean culture, or just want to read something that isn't the billionth Tolkien clone, 'The Golden Key' is more than worth your while. It's an amazing piece of world-building where the characters' lives - and their creations - will stay with you a long time.

20 of 24 people found the following review helpful:

5.0 out of 5 stars Absolutely amazing!, December 2, 1999

By 

"leda_au" - See all my reviews

This review is from: The Golden Key (Paperback)

I almost forgot I'd read this book, but reading these reviews brings it all back. This was such an amazing novel that I still can't quite believe how good it was. I've rarely come across such complex and realistic worldbuilding, or character definition, or plot complexity and reality. Sario and Saavedra, as well as certain of the others, will always be etched in my consciousness, but I think even more deeply I will carry the conjured memories of Grijalva art. I think these three brilliant women touched on something very true in this book when they limited their magic theme to the magic of art. I don't really believe in spells and magicians etc but I definately believe that the creative font of humanity if magical, and the more people that realise that the better.

For those who found the alternate European world entrancing, I recommend Guy Gavriel Kay's books. While best known for his Fionavar Tapestry, his stand alone novels are his best work. These are set largely in alternate Europes - Spain at the end of the Moorish tenure, France on the eve of the Albigensian crusade, Italy at the close of the Renaissance, and Byzantium in its heyday are some of the realities he takes and creates something new and amazing from. Additionally, those fascinated by the artistic focus in Golden Key may be fascinated by the role that music and poetry play in Kay's novels. The religion query of another reviewer bought to mind Tad William's Memory Sorrow and Thorn trilogy, but the religion in that series was never so emphatic as in Golden Key. Any responses to this review are welcome!

7 of 7 people found the following review helpful:

5.0 out of 5 stars Rich, unusual historical fantasy, March 2, 2005

By 

N. Clarke (Lancashire, United Kingdom) - See all my reviews
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This review is from: The Golden Key (Daw Book Collectors) (Paperback)

I was attracted to this book by Melanie Rawn's involvement, having enjoyed her Dragon Prince/Dragon Star trilogies a great deal for their dry wit, excellent characterisation and compelling plotting. I had only a vague idea of what it was about before I started reading - but once I did, I was completely entranced.

The multi-generational novel is set in a world with a strong feel of Renaissance or early modern Spain. While never leaning too much on its real-world counterpart, the inspiration permeates all levels, immeasurably enriching the book. It is glimpsed most obviously in the characters' names, fashions and the oaths that pepper their speech. More subtly, it infuses the religious practices, behaviour (there is a strong emphasis on family honour and female modesty), and recent history - the novel opens a little after a long war with a religiously-inclined nomadic people, an obvious but not overstated parallel with the Moors.

The central conceit of the novel lies in the social and administrative role of portraiture in the state of Tira Verte, where it is used to record everything from marriage contracts to wills to treaties between nations. Those whose paintings are most highly valued enjoy considerable political and personal influence, and their style becomes something to imitate by those who follow them. A few, in secret, are able to wield more than mere influence with their brushes.

The story follows the fortunes of two noble families, and the consequences of one rashly destructive act (try to ignore the synopsis on the back of the book, which gives this act away), through several generations. Throughout, not only the story but also the world progress naturally and fascinatingly, as artistic fashions change and the society develops and diversifies. It is told in three parts, with each author taking one generation of characters - respectively: Roberson, Rawn, and Elliot. Melanie Rawn's section is the stand-out, but all three are highly accomplished pieces of writing, gripping and fluent as they tackle themes as varied as the relationship between art and artist, the moral responsibility of power, and the position of women in a highly-regulated society.

Highly recommended.