City of Stars

[Mark Robson]

Just finished City of Stars last night. It's taken me a while as I've been a bit too distracted by other things to read much recently. Again, Mary, I thoroughly enjoyed the story. You seem to have added Greek mythology into the mix as well, which makes the story seem even more cosmopolitan.

I was at the British Museum a couple of times over the summer researching for the Codex show and I spent quite some time looking at the Etruscan pottery. Whilst I found the section fascinating, I don't remember seeing the flying horses on the pottery. I don't doubt for one second that they're there, as I am sure you did your homework on this, but it was news to me that the flying horse myth was anything other than Greek.

Out of interest, how did you visualise Georgia's little flying horse ending up on her step brother's bed in the epilogue? Did he leave it there for her? I wondered at first whether Rodolfo had taken it as punishment for her defiance, but then realised that this was not the case. Then I wondered if its disappearance was something to do with the sudden mismatch of timescales between Talia and London. In the end, however, I came to the conclusion that Russell must have left it there as some sort of token of reconciliation.

[Mary Hoffman]

Originally Posted by Mark Robson

Just finished City of Stars last night. It's taken me a while as I've been a bit too distracted by other things to read much recently. Again, Mary, I thoroughly enjoyed the story. You seem to have added Greek mythology into the mix as well, which makes the story seem even more cosmopolitan.

I was at the British Museum a couple of times over the summer researching for the Codex show and I spent quite some time looking at the Etruscan pottery. Whilst I found the section fascinating, I don't remember seeing the flying horses on the pottery. I don't doubt for one second that they're there, as I am sure you did your homework on this, but it was news to me that the flying horse myth was anything other than Greek.


SPOILER alert!!
















Out of interest, how did you visualise Georgia's little flying horse ending up on her step brother's bed in the epilogue? Did he leave it there for her? I wondered at first whether Rodolfo had taken it as punishment for her defiance, but then realised that this was not the case. Then I wondered if its disappearance was something to do with the sudden mismatch of timescales between Talia and London. In the end, however, I came to the conclusion that Russell must have left it there as some sort of token of reconciliation.

I'm so glad you enjoyed it Mark - it was the most fun to write so far. The Estruiscan horses are shown with wings but not in full flight. Still, I;'m guessing if they had wings, they would have used them! I don't remember writing much about Greek mythology but it's mother's milk to me so I could easily have done so without remembering!

In answer to your question, Russell HAD stolen the horse a second time and kept it for over a year. When he left for university, he realised how childish he was being and left it on his bed - knowing that Georgia would go into his room if the door was open - as a sort of peace offering. Of course, since he never knew what she used it for, he didn't realise just how much its loss had hurt but I doubt he would have cared. He wanted to hurt her; at least he didn't crush it.

Mary

[Mark Robson]

I was sort of assuming that the Etruscan winged horses were derived from the legend of Pegasus, born of the blood of Medusa - hence the Greek influence. If this is not the case, and their legends have sprung up separately, then I stand corrected. My ancient history knowledge is not strong enough for me to be confident on that one.

[Mary Hoffman]

I think it's a quite separate tradition because the horses are shown multiply - pulling carriages etc. - therefore not as a named phenomenon like Pegasus. They son't seem to feature in any stories but that might be because not much Estruscan literature has survived.

Mary

[Mark Robson]

Most interesting, Mary. I might just read around the subject a little next time I get a take a break from my mad push for world domination! (Which might be some time. )

I got the sense from the writing that you have ridden horses, but have never really been in with the horsey crowd. The detail which is very much a trademark of the work I've read of yours so far held up very well. I found your descriptions of the riding elements to be technically very good, but always had the feeling that something was missing. Then it struck me. Maybe it was deliberate on your part to avoid it, but having had two sisters who were mad about horses in their youth, I realised there was something missing from Georgia's language - the use of horse riding jargon. For someone whose passion was horses, she didn't seem to use a lot of the terms and phrases that I remember filling conversations in our household when I was younger. Please don't take it as a criticism, more an observation. It didn't detract from the story at all, which I enjoyed even more than the first.

[Mary Hoffman]

Yes, I did ride as a young teenager though I was never very good at it. The "where's the horse?" comment was of course from life. I avoided "horsey jargon" because I didn't want this to be a "horsey book" like the Pullein Thompsons and there is enough jargon around the Stellata/Palio without adding more.

Mary

[Mark Robson]

Originally Posted by Mary Hoffman

Yes, I did ride as a young teenager though I was never very good at it. The "where's the horse?" comment was of course from life. I avoided "horsey jargon" because I didn't want this to be a "horsey book" like the Pullein Thompsons and there is enough jargon around the Stellata/Palio without adding more.

Mary

That makes a lot of sense. Sorry for the spoiler in the first post. I should have thought a little more before pushing the submit button. I've made a bit of a start on City of Flowers, but haven't got far yet. I need to get a move on because I've got Teresa's latest book sat next to my bed as well, and I'd like to write her a review for it. In fact the pile seems to be growing ever higher at the moment.

[Mary Hoffman]

Originally Posted by Mark Robson

I've made a bit of a start on City of Flowers, but haven't got far yet. I need to get a move on because I've got Teresa's latest book sat next to my bed as well, and I'd like to write her a review for it. In fact the pile seems to be growing ever higher at the moment.

I know what you mean, Mark! I got so many books for Christmas - lovely - plus the ones I review for Armadillo and the requests that now come regularly from the Guardian, that my Robsonfest is on hold. I shall look forward to Assassin and Traitor as soon as I have made a dent in the pile growing on my bedside table.

I always thought that if I had a country mansion I should call it - the way retired judges call theirs "Truncheons" or whatever - Tottering Heaps, which is good description of my system.

Mary

[Lexell_Cassini]

I'm in chapter 21.
I found Georgia as a Stravaganti most interesting than Luciano, and I really like the way Remora works, with all that divisions and haaate!
But I missed Rodolfo =(

[Mary Hoffman]

Originally Posted by Lexell_Cassini

I'm in chapter 21.
I found Georgia as a Stravaganti most interesting than Luciano, and I really like the way Remora works, with all that divisions and haaate!
But I missed Rodolfo =(

But he was there!

Mary

[Lexell_Cassini]

Originally Posted by Mary Hoffman

But he was there!

Mary

But just a little =(

Chap. 24. I LOVED the Stellata!!!!

Do you have the 12 color combinations? I'm curious...

[Mary Hoffman]

Originally Posted by Lexell_Cassini

Chap. 24. I LOVED the Stellata!!!!

Do you have the 12 color combinations? I'm curious...

Yup, they're on the website Stravaganza

It's being re-vamped in time for the re-launch in July but I think all the old stuff is still accessible.

Mary