Customer Reviews

The Ruby in Her Navel : a Novel

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1 star:		(2)

 

 

Spoiler free:

Another great read by a master craftsman. Barry Unsworth refuses to dumb down his books for publishers seeking blockbuster historical fiction novels--novels that read more like screenplays than literature (e.g. Gates of Fire and Pompei). Those of you who were enthralled by the tormented protagonists of Unsworth's Sacred Hunger, The Rage of the Vulture and Pascali's Island will most likely have no need for a bookmark for Ruby: you'll read this one straight through in a couple of days like I did. And you'll be pleasantly surprised by the ending...such a different fate awaits this book's narrator than the protagonists of the three abovementioned stories. I agree with John Julius Norwich, however, (in his review in the Guardian) that the title of the book is really horrible. And to the publisher Nan A. Talese: What was so wrong with the British version of the cover? That artwork--done in the style of a 12th century illuminated manuscript--is so much more appropriate than the let's-make-it-look-like-Possession--cover put out for the U.S. market. N. Smith, author of Stolen from Gypsies.

This literate, fascinating novel takes place in the turbulent Mediterranean world of the 12th century. It's a chaotic time, as Muslims and Christians skirmish for territorial advantage and the borders between the Muslim and Christian worlds constantly shift. In the kingdom of Sicily, Muslims and Christians live in uneasy alliance under the rule of King Roger, a tolerant monarch whose public goal is an open and peaceful society. But the ambitions of others always undermine such efforts, and the ambitions of Unsworth's hero are no exception. Thurstan Beauchamp is a Norman knight who is forced to serve under a high Muslim official in the King's government. He's the purveyor of the King's amusements, a role that sends him far and wide to find new entertainment for his King. Thurstan has never gotten over the loss of his chance to become a true knight in service to the King, and Thurstan's naive view of his King as a shining ruler leads him to become the unwitting pawn of the powers at court.

Nothing is as it seems, and Unsworth slowly reveals twists and turns of plot in a way that reminded me of Umberto Eco. It's inevitable that Thurstan is tempted into betraying his mentor, the victim of his own failed ambitions of knighthood. As it turns out, Thurstan has been the one betrayed, but luckily the sultry Nesrin presents him with an escape.

The title and cover of this book are a bit misleading, as Nesrin is a minor player in the drama until the very end. Marketers had the final say, no doubt. I'm a big fan of Unsworth, but in this story I thought he was a bit too enamoured of his clever plot, and Thurstan is hard to like. But I found the Christian/Muslim theme particularly relevan--neither side comes off all that well, and the description of the recent disastrous Crusade was gruesome. Unsworth is a serious literate writer--"Ruby" is not his best, but it's well worth it for Unsworth fans.

Famous for his strong historical novels containing well developed themes, Barry Unsworth here focuses on life in 1149 in Palermo, Sicily. Power struggles between east and west have left King Roger of Sicily hard pressed to maintain his throne. The Bishop of Rome and the Pope do not recognize his rule, and both Conrad Hohenstaufen (ruler of the west) and Manuel Comnenus (ruler of the east) are threatening to invade Sicily to secure their own power. Though Palermo has always been a tolerant, multi-ethnic community, a faction promoting a unified Christian front has been making false accusations against Muslims, Jews, and other "outsiders" to secure their own power.

Thurstan Beauchamp, who narrates this tale, is a young Christian, the son of a Norman knight and a Saxon mother. Thurstan works in the Diwan of Control, the central financial office at the palace, where his patron is Yusuf Ibn Mansur, a politically savvy and honest official, who will help him become influential if Thurstan can only avoid the pitfalls of the numerous factions and their plots. Traveling throughout Europe as "Purveyor of Pleasures and Shows," Thurstan finds and hires a group of five Yazidis, including Nesrin, a belly dancer extraordinaire, to come to Palermo to perform for the king. His attraction to Nesrin, however, becomes complicated when on the same trip he also reconnects with Lady Alicia, his great (lost) love from the past. Now a widow of considerable wealth, Lady Alicia returns Thurstan's feelings.

Unsworth's inclusion of fine details of twelfth century life give vibrancy to his story. Wonderful, intimate scenes--Thurstan's visit to the king's church in Palermo to observe the stunning mosaic work being created by Byzantine craftsmen, for example--add color and excitement to his picture of mid-twelfth century life. The formal, "archaistic" language befits the period, and the continuing imagery of light and shadow emphasizes the ethnic and cultural contrasts among the competing ethnic groups and the conflicts within Thurstan's soul.

Though Unsworth tells a fascinating story, full of excitement, he telegraphs much of the action through obvious foreshadowing throughout. In addition, Thurstan's naivete, which makes him a sympathetic "hero" and provides excuses for some of his blunders, is a bit unrealistic, considering his high level of responsibility within the king's court. Still, The Ruby in Her Navel, more complex than some of Unsworth's other recent novels, is filled with vibrant detail within a fascinating historical context, and its emphasis on Thurstan's political and romantic coming-of-age will make it popular with lovers of well written, well researched historical novels. n Mary Whipple

My first reaction to Barry Unsworth's newest gem--a masterpiece that moved me instantly--was to turn back to the first page, wanting to reread the book and savor it at a new level. The plot is well illuminated by previous reviews, detailing the complex facets of a medieval society gripped by lust for power and wealth, of noble factions, with the newly-emerging Roman Catholic Church reaching for the helm. I leave that aside for other considerations.

Like Noble M. Smith before me, I read the book in two sittings, occasionally with my finger on the lines burdened by excessive detail of every day life in Palermo, or the convoluted contemporary politics, which--yes--do remind us much of our own times. While tripping over every foreshadowing, I wondered why such a literary genius needs to do that in a story that reads for a while like an armchair-time-travel rather than a fiction with a real plot. One answer arrives in the last fifty-or-so pages, finding me screaming at the gullible Thurstan Beauchamp to wake up and become the true white knight he so wished to become and he does--in a surprisingly frenetic finale.

Yet, Unsworth moves the reader far beyond the plot burdened by more names and plot-twists than the number of bees would settle on Saracen sweet cake and he does it by his venerable insight. This point reminds me of the setting of Verdi's Don Carlos in sixteenth-century Spain and the mysterious death of Prince Philip as a subterfuge for the nasty politics in nineteenth-century Paris, the original opera setting. Like Verdi, Unsworth is a political commentator pointing to the peace in our own world as a fragile entity. That thought reminds me of the passage in which the surface of the pool broken by Thurstan's hand becomes a place of cheating images he years to abandon.

I cannot but marvel at the obvious depth of the author's meticulous research, but especially at his ability to assimilate it--almost as Thurstan's reincarnation. That the author is not a ghost is proved by the fact that his commentary is a not product of an impetuous, young man, but that of a mature writer uttering "veni, vidi, vici"--I came, I saw, and I mastered (all that is to know about our own transparent world). The author's philosophy drives the plot.

Don't buy the book because of the cheap cover with Ingres' Odalisque (isn't every historical novel sold these days with a naked female torso?). Thurstan' sacred and profane loves for the noble Alicia and seemingly common Nesrin are but a pretext for a much deeper story, far from commonplace romance tales. Even his coupling with Nesrin is like poetry of lines in the book's prose that seems heavy, artificial at times, but so admirable after so many, many worthless books that publishers produce for the sake of a big buck.

Too bad five stars are the limit. For me, sky is the limit.

The sparkle is real but the title misleading. The dancer with the jeweled navel is a secondary character, and the implied sensuality is only a small part of the book. But the glittering background to Barry Unsworth's novel is not fiction at all, but well-researched history -- the brief renaissance of art and culture that flowered in Sicily in the mid-12th century, under the rule of the Norman King Roger II. "For these decades," Unsworth writes, "three great religious and artistic traditions -- those of Islam, Byzantium, and Western Christendom -- lived together in that small space, merged into the uniquely rich and brilliant culture that we know as Norman Sicily and produced in art and architecture works that dazzled contemporaries as they dazzle us today." It was a rare period of cultural pluralism that might be taken as a ideal model for today, but unfortunately it collapsed under the forces of intolerance and Northern European domination. Unsworth tells of one small stage in that collapse.

His protagonist, Thurstan Beauchamp, is the son of a Norman knight but not ennobled himself. Seemingly destined for a life of middle management, he has a salaried position in King Roger's treasury. His department (or "diwan") is headed by a Moslem, Yussuf ibn Mansur, who makes Thurstan his special charge, sending him on increasingly sensitive missions to further the King's concerns. Or his own. For it soon becomes clear that there are competing forces at work within the government, and Thurstan does not see clearly enough to know when he is being used. And when he is unexpectedly reunited with his childhood sweetheart Alicia, who has moved upward in the social world while he moved down, he loses such judgment as he once had. But not completely; the last few chapters of the book move in unexpected directions, showing Thurstan as more than a pawn in other people's games.

Norton seldom have much success with the covers of Barry Unsworth's novels, but they hit a new low in reducing the throbbing gold of a Byzantine mosaic to a brown sludge. I wish I could say that the impression of the cover was swept aside by the brilliance of Unsworth's writing, but unfortunately there is a sludginess there too. The narrative voice he gives Thurstan has an archaic literary quality that seldom conveys the excitement of actual experience but wraps it in a kind of verbal sacking. It is also difficult for an unfamiliar reader to keep track of the strange names, or to get much sense of the unique political situation that inspired the novel. Had Barry Unsworth printed his historical note that I quoted above as a preface rather than an afterword, and continued the same straightforward style of writing into the book itself, he might have been a lot more successful. For his subject is both brilliant and surprisingly relevant.

Twelfth century Sicily is a multicultural society, Christians, Muslims, Jews, Latins and Greeks living in apparent harmony under a Christian king. Cooperation in affairs of a state and economic enterprise benefit all, civilization functioning at the highest level. Unfortunately, the smooth surface of this shared prosperity is deceptive, behind-the-scenes machinations continuing unabated, particularly regarding relations between Christians and Muslims. In spite of the increased influence of Christians and the increasing favor of King Roger, a recent failed Crusade remains a blight on the Christian scorecard: "Peace depends upon the acquiescence of non-Christians to Christian rule."

Somewhere in the midst of these competing factions is Thurston Beaucamp, Christian son of a Norman knight whose fortune changes drastically when his father turns to the Church and relinquishes the boy's birthright. Now a purveyor of pleasures and shows, as well as a secret spy under the tutelage of Muslim Yusuf ibn Mansur, the prideful young man steadfastly believes in the mythology of knighthood and the goodness of kings, his youthful enthusiasm as yet untested by an overweening ego and ultimate perfidy. But warring factions are in play, Thurston the unwitting tool of those who would claim religious (and political) ascendance in the region, stealthily removing obstacles such as Thurston's mentor, Yusuf.

In his role as purveyor of pleasures, Thurston has discovered a wandering band of exotic dancers, most notably the beautiful, seductive Nesrin. While carnally attracted to Nesrin, Thurston's higher allegiance is to the Lady Alicia, a former childhood sweetheart newly widowed. Upon a chance meeting, the romance rekindled, Alicia pledges her troth, requesting his patience. Meanwhile, Thurston attends his duties with no little distraction, noticing odd behaviors and suspicious activities but failing to interpret the risk appropriately. To that end, he becomes a pawn, his heart blinding him to the painfully inevitable treachery of which he has become an integral part: "Blessing and preaching and ardor do not save us from stupidity and arrogance in the conduct of wars, nor do they save us from defeat."

An unforgivable betrayal seemingly balanced by the success of an opportunistic rescue, Thurston is cast into the depths of despair, learning the harsh lessons of politics joined to religion, an epic battle that has shaped the face of history. Questioning the values of a lifetime, Thurston finds unexpected redemption at the hands of the enigmatic Nesrin, who views the world from her own unique perspective: "If we do not break the bad shape, it will break us." Unsworth is at his arcane best when dealing with a complicated civilization, an evolving society tainted with political ambition and tribal rivalries, Thurston a man of the times, self-centered, vain, often of questionable character. Yet he is teachable once his ego has been punctured, the landscape littered with good intentions and lost opportunities. Luan Gaines/2006.

Here again Unsworth delivers his house specialty, character-centric historical literature. Since other reviewer's have covered the plot in (far too much?) detail, I'll just point out that the this book's subtitle: "A Novel of Love and Intrigue set in the 12th Century," is accurate but doesn't convey the more contemplative aspect of the novel which keeps it, for better or worse, from being anything remotely like a pot boiler or bodice ripper. Think Grahame Greene; definitely not Dan Brown or Margaret Mitchell.

At times THE RUBY IN HER NAVEL reads almost as a meditation concerning how our longing to satisfy issues of personal identity plays out as political affinity and an appetite for status in public; often with wholly unintended and unjust consequences. Largely this is the story of how Thurstan Beauchamp measures himself against the western feudal ideal of the chivalric knight. From this "dance of measurement" flows a dual plot. In his private life Thurstan must mediate between his yearnings for two women who seem to encompass opposite feminine ideals, the courtly Alicia, whom he once knew in the purity of childhood and Nesrin, a dancer who promises the sensual delights of adulthood. Events simultaneously pressure Thurstan to choose between the Norman Christian world of his father and the nurturing cosmopolitanism of Yusuf Ibn Mansur, his Muslim Arab employer.

As the purveyor of the King's entertainment, Thurston strives to understand what will occur on both sides of curtain -- with the players and their audience -- to make the performance come off to his advantage. But the course of his private life refuses to comply with the boundaries of abstract feudal codes such as romantic love and absolute fealty. Nor will hewing to the dictates of his race, religion or birthplace avoid or resolve the contradictions inherent in his public role. It is the interplay of machinations beneath the surface -- an image the novel returns to time and again -- that ultimately reveals identity...and by extension such private decisions determine the course of history, not Roger II or Eleanor of Aquitaine alone.

What I love about this book, and Unsworth's writing in general, is the scope of its ambitions. Perhaps it is natural for an English novelist living in Italy to take on the challenge of integrating disparate world views in one framework but there are few who dare to bite off challenges this big. All historical novels must explain the world of the past to contemporary readers but 12th Century Sicily is a world of "Byzantine" ;-) complexity and the Kingdom of Roger II is obscure by any standard. Layered on top of that is Thurston's own complex personal background and history...all of which it is necessary to map out and explain (while keeping the plot moving and describing unfamiliar settings and ancillary characters,) before the reader is allowed to witness the interplay of character shaping the narrative.

Ultimately, the payoff is there...but it took two weeks to get through the first 3/4 of the book and then I read the last ~100 pages in one sitting. In the end, Thurston -- known for his sartorial splendor -- is brought around to an entirely new philosophy by the title character on page 391:

"'So the God of the Yazidis is a Peacock.'
She made a face of pity and patience. 'Not God. Malak Tavus is the peacock Angel, he is not Peacock but has the FORM of a peacock. Is difficult to understand?'
'No,' I said, 'no.'"

Er, well, maybe a bit. The reason I can't give this book 5 stars is that this scene needed to be organic to the resolution instead of tacked on in an extended denouement. But that would, in turn, have entailed spending more time with the woman with the gem in her navel instead of unraveling the details of an arcane conspiracy that doesn't really seem to seriously interest the author either. OTOH for those who suffered it, this ending was INFINITELY more satisfying than the one in Unsworth's LOSING NELSON. Read this if you're in the mood for a novel that contemplates history and identity, but not if your deepest heart's desire is Machiavellian intrigue or heartfelt pining.

Oh I love this book so much! I was so thirsty for one good historical novel and Unsworth never disappointed me so far.

This book is telling story about 12th century Sicily during the rule of Normans. Curiously I watched few days ago on History channel one series about this subject and it helped me to get wider perspective about what Unsworth wrote here.

12th Century Sicily was perfect place of harmony between Muslims (Saracens) and Christians (both Catholic and Byzantine) under the rule of King Roger II of Sicily. Roger drew round him distinguished men of various races, such as the famous Arab geographer Muhammad al-Idrisi. The king welcomed the learned, and he practiced toleration towards the several creeds, races and languages of his realm. He organized a multiracial, multinational kingdom in which Arabic, Byzantine, Lombard, Jewish, and Norman cultures produced a brilliant cosmopolitan state. As such he was probably the most able ruler in 12th-century Europe.
This harmony is lovely metaphor of the present days views of multiculturalism and the reasons for its end 9 centuries ago are sadly the same ones why nowadays multiculturalism can't find fertile soil.

We can see how some of the magnificent monuments that still exist have been built under the influence of all three religions which is undoubtedly the reason why are so beautiful.

Unsowrth beautifully paints emotion in Christian hearts after disaster of Second Crusade as well as perfectly clear picture how greedy, bloodthirsty crusaders were and how their reasons and actions were non-Christian. I'm glad they lost it (I know this must sound silly) and I am Christian. On the other hand I always had huge respect toward Arab culture and their contribution to the science. After this novel, even more.
You really have to ask yourself how on earth those men of church thought they are leading Christian life? All what they've done was lies, bribes and murders. There is one fantastic scene when man of Church, near Pope is convincing one of the character to do something very non-Christian under the fresco that is showing King Constantine how he kneels before the Pope offering him Eastern Kingdom. What Unsworth didn't tell (and how could he considering that he would jump out of the entire book) and what I've saw at that series on History channel is that the same fresco have been used as a proof that Catholic Christianity and the Pope have legal right to take Eastern Empire and few centuries later it has been proved that the fresco is a fake. Knowing that, the scene of convincing that character to do something (I'm avoiding spoilers) under the same fresco has quite profound and obviously hidden meaning.

And of course there is personal story of love, loyalty, betrayal, dreams, lust ... oh you name it! But all this (no matter how previous sentence sounds) couldn't be more far from cliché.

Beautiful novel! I'm highly recommending it!

Unsworth's writing oozes a richness and quality which is second to none. Indeed the greatest success of "The Ruby in Her Navel" is in the way it immerses the reader into the world of Thurstan, its narrator. Unsworth manages to evoke the sights, sounds, smells and even tastes of the twelfth-century Mediterranean in remarkable detail, from the court of King Roger in Palermo and the gardens at Favara to the pilgrim-filled streets of the town of Bari. The peculiarities of Sicily as a medieval kingdom, with its fusion of Christian and Islamic cultures, are brought out in full, and the tensions between the two communities, and between Thurstan and his mentor Yusuf, become increasingly clear as the story progresses.

Both the dialogue and the descriptive language are beautifully crafted, and Unsworth expertly draws out Thurstan's emotions in a way which is easy for the reader to identify with. The feelings which accompany his every success and failure, his loves, losses and inner conflicts, are ones which we have all experienced and have a very genuine quality about them. It is easy to feel sympathetic towards the character as he attempts to find his way in what proves to be a turbulent and difficult world,

If there is one shortcoming of this book, it is its length. It takes until about 200 pages into the book until it really starts to pick up the pace and the web of intrigue which has been gradually building around Thurstan starts to become apparent. This is unfortunate, because it means that the real action is compressed into the final 100 pages. As a result, the resolution too feels a little too neat and hurried. All the right elements are there - secret plots, shadowy enemies, simmering cultural tensions - it is just that they could just be explored further.

Nevertheless, this is a very good book and easily recommended on the strength of Unsworth's characterisation, his marvellously detailled settings, and the poetic quality of his writing.

This is a fine historical novel set in Sicily at a time when Moslems, who had ruled Sicily earlier, were still a significant, progressive part of the population. Nothing in the book is inconsistent with historical fact, as I read it in Sandra Benjamin's book on Sicily's history - in fact a few of the king's successors also surrounded themselves with Moslems at court. To my taste, Thurstan's love interests comprised too much of the novel, but they were certainly integral to the plot. Thurstan is a well drawn character, well meaning but not immune to the attitudes of the times. Still, while good historical fiction, I would not consider the novel fine literature, despite the capabilities of the author, a winner of the Booker Prize. "Rage of the Vulture", set in Constantinople in 1908, is a more serious, better effort by the same author, and equally entertaining.