The Golden Key

Golden Key #1

by Melanie Rawn, Jennifer Roberson, Kate Elliott

The youngest and greatest member of a family of master painters whose art has the power to change reality, Sario Grijalva violates the family tradition of using the power for good, initiating a pattern of treachery and betrayal. Reprint."

Genres: Fantasy, Fiction, High Fantasy, Magic, Science Fiction Fantasy, Epic Fantasy, Art

893 pages, Mass Market Paperback

First published January 1, 1996

About the author

Melanie Rawn received a BA in history from Scripps College and worked as a teacher and editor before becoming a writer.

She has been nominated for a Locus award on three separate occasions: in 1989 for Dragon Prince (in the first novel category), in 1994 for Skybowl (in the fantasy novel category), and again in 1995 for Ruins of Ambrai (in the fantasy novel category).

Reviews

[Marquise · Rating 5 out of 5]

This fantasy yarn written by three hands is surprisingly good, better than I'd expected, and though I came expecting very little, it ended up hooking me up and maintaining my interest till the end.

Whilst the plot is still fresh in my mind, having just closed the book, I could say that its strengths are:

- The story premise, which is the centuries-long saga of the Grijalvas, a family of prodigy painters who, in addition to their unsurpassed painting skills, possess magical blood that manifests itself only on the males but is passed on by the females. Novels about painters, there are a few, both about famous ones and made-up ones, but families? Entire families dedicated to art for centuries? Those are thin on the ground, and for anyone with at least a moderate interest in art, it's already a good selling point.

- The unique magic system. Though it's Fantasy, it's very low-fantasy, so much so that it could be easily mistaken for a HF novel with fancy names for known countries (Tira Virte = a mix of Spain and Italy, Ghillas = France, and so on). In this world, magical power is only in the hands of the Grijalvas, in their blood, and they can manipulate & influence people and events through painting them using a magical process they learnt from their ancestors, the Tza'ab (the Moors from real history). I had never read anything like this before, and the idea of using painting and portraiture as a means of control and protection was new and fascinating. This single-handedly kept my interest even during the slower portions of the story (which for me was Part I). I'm still so impressed by the originality of art as magical tool that I now want to go hunt for more books like this!

- The perfect blend of the three parts that comprise this book. The Golden Key is technically a single book, but once you've read it, you notice that in reality it's three books in one. A trilogy published in one single book, as Tolkien would call this type of stories. And despite each part being written by three different authors with different storytelling styles and different prose, all three stories ("The Bloody Key," "The Magic Key" & "The Golden Key") transition into each other smoothly, in spite of the time jumps and that each part has a new set of characters. I don't know how the authors managed this feat, I can only guess it took a lot of collaboration, excellent teamwork, and much editing. Parts I and II are more similar to each other in style and the closest in time, while Part I is easier to notice as different to the rest as well as the more distant in time.

- There's a lot of court intrigue and political scheming, for those readers who like it. And also romance, mystery, and a sprinkling of horror for those who like them also. It has everything for every taste, save for perhaps action sequences. But the comings and goings of all the characters compensate for this aplenty.

- For all that characters don't have that much time onstage, the characterisation is pretty good. The format is mainly Third Person Limited POV mixed with Third Person Omniscient, which is what gives each character their own traits and the readers insight into their heads whilst not limiting the scope to just them due to a restricted POV.

- The ending is pretty satisfying for what went down, and bittersweet as well. The resolution to the Villain Protagonist's arc was the most satisfying and best handled of all to me. I found him the best character, and by that I don't mean "the most likable" precisely.

And, sure, the novel does have also some weaknesses. Really one weakness, in my opinion, which would be:

- The language. And no, I don't mean the writers' prose. I mean the invented language of this secondary world. Tira Virteian, which is how it's called, is a very obvious and in-your-face bastardisation of Spanish, with a good seasoning of Italian and some loanwords from Portuguese. It shouldn't bother anyone, but it did irk me all the way throughout because... ah, let me see, I have a few reasons that are rather specific.

For one: the unoriginality of using an actual language currently spoken in our world and pass it off as a "fantasy language," with barely a layer of varnish that's too transparent to disguise it. I don't object to altering a real language to make it into an invented language for a fantasy novel, but given that this is a language I actually master, I can't help but notice the low-effort handling of said language.

For two: the little effort put into "inventing" a fictional language is going to be too blatantly obvious to speakers of this language, especially because the most obvious alteration is as jarring as nails on a chalkboard. I'm speaking of the incorrect use of gender. In Spanish, as well as in Italian and Portuguese, there are three genders: male, female, and neutral. And often, "neutral" can be (confusingly for non-natives) masculine or feminine in usage. For example, momentito (a moment, in diminutive) is "masculine" even though it's grammatically gender-neutral, but the authors made it be momentita in Tira Virteian, which is feminine. And there's just too many cases of this gender mess-up. Corazón mio (My heart) is always masculine even if you're telling that to a woman, but in this book, it's corasson meya or corasson meyo depending on whether it's a man or woman you tell that. Suerte (luck) is neutral and becomes suerta (feminine), Agua (water) is neutral though it sounds feminine and it becomes aguo (masculine), noche (night) is feminine and becomes nocto (masculine), dulce (sweet) is always neutral and becomes dolcha and dolcho (masculine & feminine), the article el (the) is masculine and la would be the feminine form, but in the novel it's inconsistently either Il (masculine) for both male and female and Ila for the feminine form. And so on, the list is long. So annoying!

For three: most if not all of the words and phrases in the invented Tira Virteian language are uncreatively modified by merely adding an extra letter, generally R or S (probably because of the native pronunciation of Spanish), and other times it reads like a misspelling according to how Anglophones would (mis)pronounce it in Spanish. And so to someone who speaks Spanish, it would look like simply either misspelt or mispronounced words rather than a new language.

For last, but not least: the names are also very odd for anyone who speaks Spanish or is from Spain/Latin America. There are people named after cities and there are surnames used as given names. For example, the Lord Limner we first meet is called Zaragosa Serrano. Really? Does that sound plausible? Who of you have known someone called after the city of Zaragoza? Not me, that's for sure. Then take the name of the main female protagonist, Saavedra Grijalva. Well... Saavedra is actually a surname, it exists in the real world, and though in English it's not unusual for people to have surnames as their given names, in Spanish it's very rare. It's more common that a name becomes a surname, with or without the addition of ez (which is like the ending son in English). There's people with the name Javier/Xavier/Xabier as their surnames, to give one example, as well as people with the names Ramón, Miguel and Adrián as surnames. But you'd be hard-pressed to find someone with Jiménez, Torres, Cortés, etc., as their first names.

This almost made me knock 1 star off my rating. But I loved the story a lot, and when I think it over some more, this would look like a minor issue that probably nobody else will be bothered by. Besides, this belongs in the English-speaking publishing sphere, is written by authors that probably don't speak any of the languages used here (or not very well), and hasn't been translated into Spanish as far as I know. So, whilst I'm curious to see how other readers that speak this language would react, it's probably a trifle, more apt to be due to my personal reader's quirks than anything else. So, it's going to keep its five shiny stars for all its strengths and for the week-long enjoyment.

[Dawn Vanniman · Rating 5 out of 5]

I'm going to take a moment here to talk about the authors and cover artist.

Melanie Rawn has written numerous books since 1988 and been nominated for the Locus Award on three occasions. The rumor is that a prequel to The Golden Key is coming up later this year, the title? The Diviner. Jennifer Roberson has been publishing since 1984. She has multiple stand alone books as well as series and is still releasing books. Kate Elliott has been publishing since 1988 under her Kate Elliott name and also under Alis A. Rasmussen. She is still publishing and has more books in the works right now. Cover Artist Michael Whelan has done illustrations for authors such as Stephen Kin, Isaac Asimov and Anne McCaffrey. Pretty impressive, eh? He's also done CD covers for Sepultura and Meatloaf. If you look at the picture on The Golden Key you'll see many elements of the story and it's an amazing picture. The most amazing part - go look at a picture of Michael Whelan from the 1990's and then look at the painter on the cover. Look familiar? :)

This book was a World Fantasy Award finalist for Best Novel of 1996 and Voya's 1996 SF, Fantasy, and Horror Books of the Year.

So finally. The story is multi-generational and covers approximately 400 years. It concerns two families; the Grijalvas - an artistic family and the do'Verradas - the royalty. The Grijalvas give up one female member of every generation to be the official mistress to the reigning Duke, while one male member is the official artist to the Court (Lord Limner). The d'Verradas don't always realize that they are given these Grijalvas, they believe that they are choosing them. Some of the male artists in the Grijalvas family have an ability to manipulate time and reality in their paintings. All records - birth, death, marriage, treaties, etc., are documented by paintings rather than written documents in thisstory. The language used in the book seems to be a blend of several languages with made up words added in. There is a dictionary of sorts in the back of the book, but I caught on quickly and thought that this is such an easy language, we should adopt it!

The two main characters are Sario and his cousin Saavedra Grijalvas. Both have been born with the genius for painting, although girls aren't supposed to have it so no one believes it. Sario loves Saavedra and cannot stand for her to give her heart to another. He uses his talents in a new and dangerous way to prevent it.

The story moves along quickly and the political elements keep the story fresh and exciting. This is a must read!

[wishforagiraffe · Rating 5 out of 5]

This book is wonderful. Definitely would recommend it to anyone who likes second world Europe analogues, who likes their conflict to be smaller scale and not involving armies, who loves good relationships between incredibly well-drawn characters, and who wants a book where the magic is central to the story, but essentially unknown by the rest of the world. Oh, and the magic is made by making art. Pretty fucking cool. Tons of symbology (I haven't done the research to figure out whether the symbology used in the story has historical backing, but I wouldn't be surprised if it did.) helps that magic to succeed. It's a great magic system, and a great world, and some simply amazing characters. In the book itself, there's nothing that indicates who wrote which part of the story. I have read each of the authors previously, both Jennifer and Kate recently, but I haven't read Rawn for more than a decade (ever since I started Exiles and then found out it wasn't finished...) and I will admit, I guessed wrong about who wrote which section. I thought for sure that Kate had written the excellent middle section, where Mechella grows so much as a person, but that was Rawn's section. The conclusion was everything that I had hoped that it might be, but was worried that it might not, because the book stomps on your feelings so much throughout its 900+ pages. I loved it.

[Emma Deplores Goodreads Censorship]

Read through page 107.

I have mixed feelings about abandoning this, since each of its three sections was written by an entirely different author, and I like Elliott's writing at least. I remember liking Melanie Rawn well enough as a kid, but... ooof. All of the characters came across as annoying: perhaps because of the dialogue, full of repetition, interruptions, constant use of invented faux-Italian words, and stilted prose, or perhaps just because few of these people are sympathetic and none of them interesting. Waiting until a full chapter after first introducing Sario and Saavedra (a chapter they spend talking and thinking like people in their 20s) to tell us that they're actually aged 11 and 12 was too late, and also entirely unconvincing, since they're written as adults. I could almost believe the author aged them down at the last minute without making any supporting changes, especially alongside Alejandro, who's supposedly 10 but comes across as more like 5 by comparison.

Meh. Perhaps I'll come back one day, but if I do it'll be to skip the rest of Rawn's section and move on to the next.

[Kurtbg · Rating 3 out of 5]

Think Game of Thrones, but with more subtlety, nuance and detail. The authors create a world reminiscent of 18th century Spain with combined elements of politics, royalty, and artistry.
Where GoT has actually very little magical fantasy, the Golden Key infuses magic into the artwork of court painters. Paintings are used as formal documentation for marriages, treaties etc.

The story begins with a young painter who burns with an all consuming passion to paint and be the best painter. His actions echo throughout a span of three time periods - depicted in three separate sections of the book. This is a near 900 page read which is much more than typical for this genre. The first section is written differently than the last two. It establishes much more and is infused with much
more cultural mannerisms. It would be interesting to know if the three authors each had a section, or if their was a principal author (Rawn?) who then collaborated with the other two.

To me women authors create much better stories with well detailed and shaped characters. See Robin Hobb. Male writers tend to focus on creating stereotypical one-dimensional roles which are dropped into their imagined environment and let loose on the 'and then' plots. Some M-F author pairings have worked well: Weis & Hickman, and even the popular David Eddings credited is wife Leigh with being just as important
to creating his Belgariad and Mallorea series.

[Catherine Asaro · Rating 5 out of 5]

This review originally appeared at sfsite.com in 1997.

GOLDEN WORDS

It isn't true a picture is worth a thousand words. Melanie Rawn, Jennifer Roberson, and Kate Elliott grace their novel The Golden Key with far more than a mere thousand per picture. And these are words well worth the read. This book is a fantasy novel about art. Or is it a generational saga? Actually, it is an alternate universe story. Then again, maybe it is science fiction. Or should that be science fantasy? To define it within only one genre is impossible. Suffice it to say that this nominee for the World Fantasy Award is a remarkable book.

The story centers on two families, the artistic Grijalvas who live in the duchy of Tira Verte and the royal do'Verradas who rule Tira Virte. An inextricable link joins the families; all records of births, deaths, treaties -- all forms of human interaction -- are recorded as paintings rather than written documents. Or are they mere paintings? The answer to that question takes the reader through a tale of intrigue, magic, romance, and page-turning adventure.

The key to the story is this: into each generation of Grijalvas are born a few boys with a Gift; they can manipulate space and time with their painting.

THREE IN ONE

The book consists of three parts, each a complete story in itself, with an overall plot that ties it all together. The parts fit beautifully, like a literary jigsaw puzzle that forms a big picture. A great deal of speculation has centered on which person wrote which part of the book, but no authorized verification has appeared in print. So I cranked up my courage, contacted the authors, and asked. With their permission, it is now official: Jennifer Roberson wrote the first part, Melanie Rawn wrote the middle, and Kate Elliott wrote the end.

The story takes place in a parallel universe where Tira Virte plays a role similar to that of Spain, Ghillas suggests France, Tza'ab Rih is reminiscent of North Africa, and so on. The names derive from sources in our own world, such as Merse for England, which evokes the Anglo-Saxon kingdom of Mercia. The language of Tira Virte blends Spanish, Italian, and Portuguese. Done with less skill, the scattering of so many made-up words throughout the story could have detracted; here it enriches, even evokes wonder. The words blend with the prose and make sense. For readers who enjoy more detail, a lexicon at the end gives the definitions and is entertaining to read in and of itself.

Roberson's opening introduces the main characters, Sario and his cousin Saavedra, two adolescent Grijalvas with the Luza do'Orro, the Golden Light -- a genius for painting. Spurred by his obsessive love for Saavedra, Sario sets in motion a saga that spans centuries. He keeps himself and Saavedra alive by a forbidden use of his Gift.

A striking difference exists in Roberson's style in Part One and Rawn's in Part Two. It works because three hundred years separate the stories. The luminosity of Roberson's prose reflects the youth of the characters and culture, whereas Rawn's elegance fits their maturation. The closer resemblance of Rawn and Elliott's style goes well with the lesser time span between Parts Two and Three. Elliott's chapters do have a subtle difference in feel, one suited to her background as an accomplished science fiction as well as fantasy writer. Her words paint the picture of a world and people on the doorstep of an industrial age.

Roberson's Sario is an angry young man, defiant and arrogant, yet with a vulnerability that captures sympathy. Rawn's adult Sario at first seems colorless. But as the story unfolds she deftly layers on darker hues, to reveal a sorcerer who has lost his youthful innocence, leaving only an uncompromising ambition untethered by moral judgement. Elliott adds new colors, with Sario's growing frustration over the unexpected twists of his life. The authors maintain just the right balance, letting Sario change without creating seams in the overall picture.

Just as a frame surrounds a painting, so the authors frame their stories with scholarly writings from fictional experts who discuss exhibits of works painted by characters in the book. The pictures depict events that precede or follow each story, as appropriate to their place in the book. It is an ingenious device, one that showcases the history of this intriguing world without the exposition becoming intrusive.

The first third of the book has a few places where the dialogue is somewhat opaque. The opening prologue confuses a bit, as well, in that the reader has no background yet to interpret Sario's thoughts about his world or himself. He and Saavedra also initially come across as adults. Roberson writes so well, however, that these are minor points. The next chapter, told from Saavedra's view point, clarifies the opening and gives an effective contrast between the pragmatic Saavedra and blazing Sario.

Part Two stumbles once or twice when characters meant to be sympathetic act in ways that jar with the intended purpose. At one point a friend of the heroine Mechella watches Mechella challenge her rival Tazia. The watcher's catty thoughts about the rival almost transferred my sympathy to Tazia. However, overall Rawn does a first-rate job with the complex relationships among her characters. Her way with words is a pleasure to read.

Rawn's section also has a special poignancy, in that it echoes the real life story of Charles and Diana. It isn't the same, of course; these are original characters with their own tale. What makes it so moving is that the fictional princess attains a happy end to her troubled life. Rawn had no way to know when she wrote her section, so aptly titled Chieva do'Sihirro -- the Key of Magic -- that it would someday offer a gentle eulogy to the life of a remarkable woman.

In Part Three Elliott drops tantalizing hints about the genetic basis for the Grijalva Gift, but never explains it. I wanted to know more. However, given that this novel is set in a society where people have no knowledge that genes even exist, it is perhaps a tad unreasonable of me to wish the characters would break into a soliloquy on the wonders of their deoxyribonucleic acid. I finally satisfied my curiosity by contacting Elliott and convincing her to grant me an interview about the genetics. The essay drawn from that interview will appear as part of my science-in-fiction column in Tangent magazine.

MAGIC AND SCIENCE

The authors set up the magic with scrupulous care. This is no slap-dash of spells spattered across a story canvas; it has the same depth and ingenuity as their world building. They base inheritance of the Gift on genetic principles with a rigor worthy of the hardest science fiction. In an ironic twist, the Grijalvas inherit their Gift the way hemophiliacs inherit the traits that prevent their blood from clotting. It leaves the reader a question to ponder: is Grijalva magic a gift--or a disease?

As a physicist, I was intrigued by how the magic plays on relativistic theory. The Golden Key reads like fantasy, yet within it are lovely allegories to diamond-hard science. The lyrical prose gives the physics an artistic feel, as if spacetime were painted into its universe just as its characters paint themselves and their passions into their own works. How much of it is deliberate and how much derives from the authors' natural intuitive gifts, I can't say, but I do know it evoked for me a real sense of wonder.

Spoiler warning: the following gives away a crucial plot point. Readers who prefer to discover it on their own should skip the next three paragraphs.

Perhaps most innovative is the spell Sario uses to trap Saavedra; he paints her into a picture. Roberson writes fantasy here at its best. Yet the hard science reader will also find a marvelous allegory to the twin paradox of relativity; only three days pass for her while centuries go by for everyone else. Her time "dilates," that is, stretches out, as if she were moving almost at the speed of light relative to Tira Virte. Of course we can't usually watch people with dilated time because of their immense speeds. That Saavedra is visible in the painting suggests another intriguing allegory, that Sario's magic offers a portal onto yet another spacetime.

Saavedra's situation is also a splendid twist on the phrase "frame of reference," which physicists use when describing how people moving at different speeds experience the universe in different ways. Saavedra truly is within her own reference frame. Toward the end of the book, Elliott even refers to her "proper time," a term that not only indicates her proper era, but also evokes relativistic terminology that fits her situation.

The chapter where Saavedra returns to normal spacetime is in Elliott's section. To provide continuity, Roberson writes those few pages, using her style from the book's opening pages. It is a clever technique, giving an archaic feel to Saavedra as compared to the other characters.

The possibilities here for the intersection of fantasy with physics fascinate. We may see more of it; all three authors have contracted to write either prequels or sequels to The Golden Key.

The crowning touch to this book is the gorgeous cover painted Michael Whelan. His depiction of Sario, who holds a golden key, is actually a picture of Whelan himself. Read the book and it will be clear why Whelan's choice to do a self-portrait is such an eerie -- and effective -- play on the golden key magic.

ALL THOSE LOVELY CHERUBIM

My favorite subplot is Rohario's romance with Eleyna, the central character in Part Three. Eleyna's Luza do'Orro--her artistic genius--shines like a star. One of the book's most powerful moments comes when she corrects one of Sario's sketches. He has finally found what he seeks: a student he can mold into his equal. Here Elliott deftly evokes a scene from the opening, where eleven year old Sario, unable to stop the compulsion of his genius, grabs Saavedra's pencil and corrects her drawing.

Rohario seems an unlikely choice for Eleyna. As the Grand Duke's second son, he may be handsome and good-natured, but even he considers himself a useless fop. He knows little about real life, displays no ability to govern, and has neither his older brother's strapping physique nor athletic talents.

After he runs off with Eleyna, a disconcerted Rohario finds himself swept into a resistance movement against his father. His maturation into a mediator and leader, combined with his earnest love for Eleyna, utterly charms. Through it all, whether riding in pig carts, sneaking around after dark, or getting clobbered in a fight, he valiantly tries to maintain his well groomed self. When the incensed Grand Duke kicks Rohario out of the palace for disagreeing with his politics, Rohario's valet laments his going because no one else knows how to dress so well. Then there is the swooning romance of Rohario's scenes with Eleyna: "He was so terribly well dressed that of himself he seemed a commentary on the appalling decor of the room ... she stared, seeing his beautiful clothes framed by ghastly pale cherubim fluttering through a gilt forest of vines and fanciful leaves." Elliott's delightful humor thoroughly enhances the story.

The Golden Key is one of the most absorbing books I've read in some time. I give it my highest recommendation.

[Izzie · Rating 5 out of 5]

I absolutely adored this gigantic and indulgent fantasy. It took me a month to read only because I didn't want it to end, but it wrapped up nicely and was an excellent standalone fantasy. Out of the three authors I have only previously read Kate Elliot, but the writing styles were distinct enough that I could tell who wrote what (the story is in three parts, after all) and I will definitely be reading more by Melanie Rawn and Jennifer Roberson in future. The Golden Key is intimidatingly long, I won't deny that, but never did it feel boring. I personally loved every little detail and the rich world these three authors have created. A new favourite for sure but I know this wouldn't be to everyone's taste (however it suited mine exactly!).

[Kathi · Rating 4 out of 5]

I finished The Golden Key, after more than a month. It's the not fault of the book that it took me so long (although it is almost 900 pages and spans 400 years). Because there were days-long periods of time between readings, I don't know if my perceptions are that accurate. But I thought I could "feel" the differences in the sections that were written by each of the authors (Melanie Rawn, Jennifer Roberson, and Kate Elliott). The middle section of the book was my favorite, and, to me, it seemed to flow the best, but again, that could be because I read most of that without long breaks in-between.

I have read other books by each of these authors and liked them a lot, so it's not surprising that I gave this book 9/10 on m personal rating scale.

What I liked: I found the system of magic to be original and unusual. Most of the characters were people I ended up caring about. Although there was an inevitability about the conclusion, it was satisfying and there were enoguth twists and turns along the way to keep it from being too predictable.

What I didn't like: I still am confused about the power of the Grijalva Gift vs. the power of the magic. I would like to know more about how the Tza'ab used the magic vs. how the Grijalvas used it. And the similarity of names used through the years, while very appropriate to the setting, made following the story challenging at times.

Let me finish by saying that I know this book was meant to be followed up by 3 volumes, each written by one of the authors of this book. That plan apparently was scrapped years ago, but perhaps some of my questions would have been answered if those books had been written.

[Ash Krafton · Rating 5 out of 5]

I never tire of this book...it's like comfort food to me. I adore the cover, too--Michael Whelan, you cheeky bugger!

[Kaycee Rose · Rating 1 out of 5]

DNF - Too pretentious for me

[Jane Jago · Rating 4 out of 5]

A tour de force of imagination. The ability to paint pictures with a magical influence on people's lives.

And what happens when somebody takes it too far...

[Jack · Rating 5 out of 5]

Nearly a year after I started, I have finally finished The Golden Key! What a ride ladies and gents. What a ride. Magic, politics, drama, romance. And so much art. A little bit of everything for everyone, really. It's hard to put into words, how I would review this or recommend. At the very least, if you have any interest in secondary world historical fiction, this is for you. If you're after action, there's not much to see here. If you want finely rendered characters with depth, who have ambition, who are passionate and love, this is for you. If you're after a magic system which is based on art and painting, give it a shot. That's all I'll say, for now.

I really feel like painting.

[Mary · Rating 5 out of 5]

Aside from Suzanne Clarke's Jonathan Strange and Mr. Norell and Guy Gavriel Kay's Tigana, which I also love, The Golden Key is actually my favorite fantasy novel. Too many fantasy novels are dominated by wars, quests, etc., and the repetition of the common war and quest plots gets old after a while. The first time I read the book, I remember being absolutely blown away by the idea of painters manipulating people, politics, and history by the use of spells in their art: ie; painting somebody to render them cooperative or compliant. Wow. The three writers must have collaborated on that idea, and on the arc of the plot, but you can also see their different styles in the three sections of the book.

Oddly, the section of the book I like best, the third and last section, was written by the author I like least, Kate Elliott. (I attempted to read her Crown of Stars series, having liked parts of the first book in that series, and honestly I had trouble getting through it.) But I loved the character of Eleyna, the talented artist who is doomed to be used as a wife and then a mistress, instead of being allowed to develop and use her artistic gifts, just because she is a woman. I also loved the setting of this section, which is clearly inspired by the French Revolution and Romantic-era Europe.

I love art and art history, so the descriptions of the paintings, and the authors' descriptions of the tools and techniques of painting, were fascinating and absorbing. I think that the novel is similar to Guy Gavriel Kay's Tigana and A Song for Arbonne, in that it kind of echoes European history, but also because the value of art and creativity is a constant theme in the book. Sario does terrible things because of his greed for artistic mastery and recognition, but the novel generally treats the painters' need to create, their "luza d'orro" (inspiration) very sympathetically. The reader can recognize and respect Eleyna's admiration for Sario, and her desire to learn from him, at the same time that she's horrified by the evils he has done.

[Shelby · Rating 5 out of 5]

I re-read this book recently and was amazed at the skill the three authors (who are all, in book at least, three of the best fantasy genre writers EVER) blend their styles to create one seamless story that spans generations of the Gifted Grijalva family. I believe Sario Grijalva is one of my favorite villains in any book I have ever read because he is so complex, not quite evil, very sympathetic but arrogant which lends to the saying "Pride goeth before the fall." He does horrible things...I mean HORRIBLE...but I care about him and I root for him even when...well, stuff happens.

I tried to get my mother and sister to read this book, mostly unsuccessfully, because they are fantasy purists. This book also blends quite a lot of history and art, philosophy and politics into creating a world that is very similiar to 15th and 16th century Venice at its finest. Some readers may not like that the story's main heroine only appears in the beginning, is talked about in the middle and comes back in the end. But the supporting characters that weave in and out of the story are so well developed through dialogue and action that you will be sad when they are gone but glad to meet the new generation that has taken center stage. It is also very long book...but trust me when I say WORTH IT! Definately count on reading this one at least once every year or so. I find new things every time I do!

[Joy Wilson · Rating 5 out of 5]

A long but wonderful read

I have loved Rawn's work for many years and found this book to be extremely satisfying. The three authors are very talented and this book seamlessly flows even though each wrote about 1/3 of the complete text. Sario is a character you want to love and want to kill. He has so much, but always wants more. He justifies his work by saying it is a service to his country, but is it really? Is he really a monster who only cares about himself? For 900 pages we are in awe of his gift and his hubris. Saavedra is tragic in a completely different way as her life is bound up in and by Sario. If you want to dive deep into a world of magic and politics, this will be a great way to spend many hours of your time.

[Sara J. (kefuwa) · Rating 5 out of 5]

Might dial it down from 5 stars I don’t know - it’s just that it’s somewhat of a personal victory when I finish huhu- but wow, that was one heckuva ride! Apparently they planned other books in the series but only one actually got written - sigh. RTC

[Anita · Rating 4 out of 5]

This book was a great collaberation! The idea of making magic out of art was unique. A great ride with some twists along the way.

[Kes · Rating 4 out of 5]

I enjoyed this book - I love the use of magic through art (in this case, painting).

The Grijalva males have magical ability, which they express through painting. Their whole family is closely tied to the Duke, who is honour-bound to protect them (despite society whispering that they have some sort of black magic). The Church hates the Grijalva because of this black magic.

In this setting, we follow Sario, who is born extraordinarily gifted. From youth, he's branded as the Angry Youth, and his elders fear his gift (and seek to control him. Sario turns to his cousin, Saavedra, who is also gifted at art (although, as a woman, her main role is to reproduce).

We follow Sario as he learns more about magic and painting, and through that, how he learns how to jump from body to body throughout the ages until Saavedra gets released from the painting in which he imprisoned her and imprisons him in his turn.

I liked the description of court politics (especially how Sario ensures that the Grijalva maintain their power - by making them Court mistresses). Mechella's efforts at creating her place in Court is interesting as well.

There is ample meditation on art and art styles - Sario returns in various iterations to rail against the manner in which painting has changed over the centuries, and to shape painting in a manner which he prefers. There's also a bit on how language has changed over time, with Sario occasionally being caught up for using the older term. I liked that.

I didn't felt that the random untranslated bits of Italian? Spanish? didn't add to the story.

It was a very fun book to read - 4/5 stars

[Benjamin Thomas · Rating 4 out of 5]

I won't rehash the plot of this excellent novel; discovering that, afterall, is half the fun. This novel is an excellent character-driven novel; a collaboration of three well-known fantasy authors. The book is broken into three parts, each seperated by several decades, allowing for each of the three authors to focus on their own part. This would seem to make the whole thing disjointed but not so. There are some slight differences in style among the three parts but these differences only lead to a different, appropriate focus for the section and the characters that reside there. Overall, it blends together seemlessly and the characters are woven together extremely well.

Some novels annoy me when they use "foreign" words regularly throught the text. I hate it when I have to constantly check the appendix for a glossary of terms. So I was worried when I saw the glossary included in this novel, depicting all of the "Spanish/Italian" words. But when I read the novel, I found I didn't need it. The words are easily comprehended in the context of the sentences and become part of the overall ambiance of the story.

Overall, this book, though fairly lengthy, is a fascinating piece, highly worthy of your time to read. The authors do a marvelous job with the setting and characters and the plot is driven by the characters themselves as opposed to events outside their control. If you like political intrigue, court/religious politics, revenge, etc. as well as a a truly unique magic system, then don't let this one pass you by.

[The Idle Woman · Rating 4 out of 5]

An old favourite of mine, which puts art and painters at the heart of a complex, sprawling novel - a blend of fantasy, family saga and Gothic horror. With its compelling antihero (the kind you secretly cheer on) and its vivid evocation of a fictional world influenced by Spain and Italy, it's enjoyable and absorbing. It is also long (more than 1,000 pages in my edition) and you may find towards the end that you, like me, begin to think that the editors could have been a little more ruthless - but everything goes towards building the fabric of the world. The presence of three authors doesn't affect the book too much because it is structurally divided into three parts and they take one each. Personally I love the first section, setting the scene and bringing the characters to life in sumptuous rich language - laying the foundations of a story which crosses four hundred years, fuelled by ambition, jealousy and the desire to create a perfect painting. Recommended as an alternative to the usual sword-and-sorcery style of fantasy.

For a longer review, please visit my blog: http://theidlewoman.blogspot.co.uk/20...

[Sara Norja · Rating 5 out of 5]

This book took a while to grow on me, but that was partly because when I started it, I only had the chance to read late at night when exhausted. The first 50 pages would've been easier if I'd had time for a proper reading session. Anyway, once I got into this book, I was sold. Fabulous concept, one that's lingered with me. I love fiction that deals with art, and this novel does it so well, and in a cool magical way where art is integral to the plot. The Golden Key made me want to paint and also go to art museums. The descriptions of paintings and the artistic process were just so delicious.

The structure of the book is fascinating and it works very well. I could sort of recognise the authors' different styles, but they blended together nicely. Sario is such a despicable character, but it was very enjoyable to read his POV bits too. I really enjoyed how the book read like three interconnected novellas, and it came together so well in the end. Great to read a book where the stage is rather small-scale, but the events feel momentous and yet there's a focus on the human side. Also, cool to see the country develop and change over time. This is definitely a book to reread.

[Suzie Quint · Rating 4 out of 5]

This is a big book and probably longer than it needed to be. That said this original fantasy story is far less derivative than most stories that use a middle ages backdrop as their template. It's setting owes more to Renaissance Italy than to the English & French histories that usually appear in fantasy. The use of extremely talented artists whose painting are effectively the treaties and other documents of society creates a competitive class of artists who will do anything to be the best of their generation. When one genius finds a way to extend his life beyond it's natural length while holding onto his talent, when he also finds a way to punish the cousin he loves for falling in love with someone other than himself by condemning her to life inside one of his paintings, the story goes from unusually interesting to compelling. I'm glad I read it.

[Kyra Halland · Rating 5 out of 5]

A favorite of mine, one of the few books that I re-read every once in a while. The setting is inspired by the art scene in 16th/17th century Spain and Italy. Pictures painted in this world, by trained artists using special materials, have magically binding properties and are used for contracts, marriage agreements, and other important purposes. Sario Grijalva, a young member of one of the great painter families (the ability to use this magical art is an inherited trait) is obsessively in love with his beautiful cousin Saavedra, and stumbles upon a horrifying use of this magic to ensure that she can give her love to no one else, launching generations of mystery and deceit. Well-written and colorful, with compelling characters and a truly cool setting and magic system, the Golden Key is a haunting fantasy that has stuck with me since the first time I read it.

[♥Xeni♥ · Rating 5 out of 5]

This is a wonderfully long and intense novel which follows one country through centuries in the perspective of a painter. I loved how Melanie Rawn used a "flawed", i.e. corrupted, main character to tell her story from. It definitely was a wonderful change from most stories (where the main character needs to defeat that bad guy). It does, though, lead the reader to sympathize with the main character a bit more than you would usually with the villain.


I still love reading this novel, even after many many reads. The story never grows old, the characters are all full and the plot is wonderfully thought out.

You can definitely tell that Rawn spent many years putting together this literary masterpiece.

[Shaitarn · Rating 4 out of 5]

3.75 stars rounded up.

[Jana Knight · Rating 5 out of 5]

Sweeping epic story that encompasses the a fully fleshed out culture as well as the personal stories spanning generations.

[Gs · Rating 4 out of 5]

On the one hand, this is a quaint book, a throwback to the books I grew up reading. On the other, I've never read a book quite like this one. Overall I come out of it feeling this was worthwhile read. Magic art and magic-in-art is such an interesting conceit, and the early modern European historical parallels are fun. As is the commentary on art styles changing over time. It's like The Picture of Dorian Gray meets art history meets 90s fantasy. I would give it a 5, but the first section was a bit tough to get through - stylistic decision or otherwise - but it becomes more of a page turner later.

[Erin · Rating 2 out of 5]

You know what? I give up.

The first section is terrible. It's boring and it is so goddamned repetitive. 300 pages could be condensed to half that.

I got a bit into the second section. Much better written (in that I don't get the same three plot points every twenty pages), but I was still bored.

And I have many other books I could read and hate and be done with in the same amount of time.

To the DNF pile!

[craig · Rating 4 out of 5]

Political Painting. Those are the best two words to describe this novel. If you enjoy Political novels than you will enjoy this book. This is not to say that if you do not enjoy political novels this isn't the book for you. I tend to lean away from political novels but, I really enjoyed the play of magic and the overall story involved. The idea of being able to use magic through painting to alter reality is very intriguing and exciting. It is what made me pick up this book I found in a raggedy old book store in my local area(Crooked sign, bad part of town, creepy religious section.. you know the usual).

The Cover: The cover art probably appeals to many as it is very characteristic of the novel but, I honestly nearly skipped over it because of the dull and subtle coloring. I am glad I didn't!

The Attention Get/Keep: I have to admit the book starts off seemingly boring. There is some evidence of magic but, it is very minimal. I will attempt not to spoil here but, in my opinion it took until after the first death enacted by one of our main characters for me to begin engrossing myself in the novel. This is a typical fantasy where the entire world and politics are made up so the story does take time to setup and I always allocate a certain amount of grind for these setups. This setup does go on longer than I particularly like but, I do think it was worth it as well.

The Value of the read: I don't think I need to say much here. Of course it was worth reading! These are 3 fantastic authors and while I'm upset at Melanie Rawn for never finishing the Exiles trilogy, their combined styles of writing are worth reading no matter the story. That being said I do think this story is a good political novel with great touches of magic. Think GoT but with more magic and more subtlety. You will have to think, and THAT I think is the point to reading.

[Jeremy Preacher · Rating 4 out of 5]

This is, first of all, a whole trilogy's worth of book. This is not entirely to its credit, as it isn't quite structured as three satisfying novels, and so feels somewhat unfocused. But mostly making up for this is the engrossing worldbuilding. It feels in many ways like Jacqueline Carey's Kushiel series, in that it's a lightly-painted-over version of Europe (specifically Spain) with magic and some cultural changes to enable the story to stay contained mostly within the one country. The world feels cohesive, the language is beautifully introduced and carried through, and the power structures are carefully thought out.

The actual plot, as I said, is rambling, as it follows the country itself as much or more than any single character, and spans three hundred or so years. The opening third I found totally gripping, the middle third worked well enough, for a twisty political anti-romance, and the last third felt a touch rushed but worked well enough to tie up both the personal and (more importantly, for this book) the political loose ends. I'm not 100% sure I believe that magic that powerful would stay quite that secret or well-behaved, but I very much enjoyed the examination of the intersections of power and privilege and their opposites, often in the same people.

This is not a book I'd hold up as admirable in its treatment of people of color, which is now a thing I notice and squint hard at. It is definitely a pointed examination of the way various power structures treat women, and the wide variety of ways women cope - or fail to- with them. And it's a long musing on the nature of the artist's relationship to her art. It's not perfect, but I'd say it's worth a read.