It is hardly an accident that separatist movements so often involve attempts to reclaim a lost language. In Provence, highway signs often give place names in both French and the almost-lost Provençal tongue. The independence movement in Wales has incorporated attempts to reclaim their language as one of public discourse (a reaction to the English refusal to allow it to be used in schools or even schoolyards once upon a not-so-long-ago time). In Quebec, the often bitter struggle between Separatists and those who wish to remain a province of Canada finds a battleground in language. Tigana was an attempt to use magic to explore these themes: erasing a people from the record of history by stripping them of their name.
A story like this needs a setting. Another strand to mine, even before it was a story, came from reading early Italian Renaissance history. The record of that brilliant and brutal time brought home to me how long-delayed Italian coherence and identity was because of the savage feuding among the city-states. Internal warfare made them not only incapable of repelling the ambitions of France and Spain, but led the Italian cities to take turns inviting them in—so long as the outside army did a proper job of raping and pillaging hated Milan or Venice or Florence or Pisa on behalf of whichever city had extended the invitation. The boot of Italy became my Peninsula of the Palm, with the ambience of olive groves and vineyards I wanted, and my model for Brandin of Ygrath became that of a Borgia or Medici prince, arrogant, cultured, far too proud. Alberico, opposing him, was a crude, efficient Politburo survivor.
The novelist Milan Kundera fed my emerging theme of oppression and survival with his musings about the relationship between conquered peoples and an unstable sexuality: what I have called “the insurrections of night.” The underlying ideas, for me, had to do with how people rebel when they can’t rebel, how we behave when the world has lost its bearings, and how shattered self-respect can ripple through to the most intimate levels of our lives.
I wanted to start a book about subterfuge and deception with an outright lie—and the first sentence of chapter one does that. I wanted to work with music, the mobility of musicians in a relatively immobile society, and to re-examine the mage-source bond from Fionavar, showing a darker side to such a link—and that wish found an outlet in Alessan’s binding of Erlein. I hoped to explore, as part of the revolt the book would chronicle, the idea of the evils done by good men, to stretch the reader with ambiguities and divided loyalties in a genre that tended (and still tends) not to work that way.
The debate between Alessan and Erlein is meant as a real one, not a plot device. The assertion made by the bound wizard that the roads of the eastern Palm are safer under Alberico than they were under Sandre d’Astibar is intended to raise a question about the legitimacy of pursuing one’s quarrels—even one’s quest for a people’s obliterated identity and past—by using others as unwilling instruments. By the same token, this is also true of the rage Alessan’s mother feels, seeing her son coolly attempting to shape a subtle, balanced political resolution for the entire peninsula, where she sees only a matter of hatred and blood and Tigana’s lost name.
These are ambitious elements for what was also meant to be a romantic adventure. They intimidated me as they began to emerge; even recording them now I find myself shaking my head. But beneath them all lies the idea of using the fantasy genre in just this way: letting the universality of fantasy—of once upon a time—allow escapist fiction to be more than just that, to also bring us home. I tried to imagine myself with a stiletto not a bludgeon, slipping the themes of the story in quietly while keeping a reader turning pages well past bedtime.
It is a matter of gratitude and pleasure for me to have a sense, so many years after the first release of a generously received book, that it might have happened that way: those first ideas and images and wishes becoming foundation pieces of the novel, the themes sliding in, people awake into the night.
This is how I like to remember it, at any rate.
Guy Gavriel Kay
Acknowledgments
In the shaping of this work a great many people lent me their considerable skills and their support. It is a pleasure to be able to acknowledge that aid. Sue Reynolds once again offered me a map that not only reflected but helped to guide the development of my story. Rex Kay and Neil Randall offered both enthusiasm and perceptive commentary from the early stages of the novel through to its last revisions. I am deeply grateful to both of them.
I am indebted to the scholarship of a great many men and women. It is a particular pleasure to record my admiration for Carlo Ginzberg’s Night Battles (I Benandanti). I have also been stimulated and instructed by the work of, among others, Gene Brucker, Lauro
