Book Log 14 - The Spirit Ring

Lois McMaster Bujold: The Spirit Ring

This is vintage Bujold, 1992, a rare standalone published between ‘The Vor Game’ (1990) and Mirror Dance’ (1994) though in many way it feels like a much earlier work. It’s a straightforward fantasy set in a Renaissance Italy where licensed mages work white magic with the blessings (and supervision) of the church, but where the Inquisition still looms to seek out black magic. Fiametta is the daughter of master mage and metal artisan, Master Beneforte. Her barely remembered mother – about whom there seems to be some secret, never revealed – was black, making Fiametta an unusual hue for a free woman of the time. Her father’s only explanation is that her mother was a ‘Christian woman from Brindisi,’ to refute the perception of his peers that Fiametta’s mother was either Moorish, an Ethiope or possibly a Blackamoor slave. Though Master Beneforte has refused to train her in magic arts (because she’s only a girl) Fiametta is learning metal craft and is already skilled in the fine casting of jewellery pieces. She’s also learned far more about magic (and has a talent and a deeper understanding) than her father has given her credit for. As an apprentice piece she has cast herself a silver ring that will show her who her true love is. (Only her true love will be able to wear it.)

When Master Beneforte and Fiametta go to a reception at the Duke’s palace to present a work of art (a magical salt cellar, the contents of which will always reveal and neutralise poison) on the occasion of the betrothal of the Duke’s daughter to neighbouring Lord Ferrante, they don’t expect trouble, but Lord Ferrante has brought an unusually large honour guard of fifty fighting men. When Ferrante kills the Duke, his men quickly take over the palace and the town, in the process killing Uri Ochs, the captain of the guard and a young man that Fiametta had been sweet on.

Suddenly Fiametta and her father are on the run from the invaders and though they get away, her father soon dies of a heart attack leaving Fiametta alone with his body. And it’s the body that’s the problem, for an unburied body and an unshriven soul can be used for black magical purposes by one ruthless enough to do so, and Ferrante has a magician in his retinue prepared to do just that. If he can complete the rites before Fiametta can stop him Master Beneforte’s power and knowledge will be trapped within a spirit ring and in his and Ferrante’s power.

Fiametta’s allies include an elderly warrior-turned-church-man and Thur Ochs, Uri’s younger brother who had been on his way to join the Beneforte household as an apprentice when the trouble began. Fiametta is amazed when Thur, whom she sees as nothing more than a country clod, is able to wear the ring that his brother could not put on. For better or worse, Thur is destined to be her true love. Luckily Thur is far more than he seems. Uneducated but intelligent, kind and patient (not to mention tall and strong as an ox) he has a knack of finding things that are lost, starting with Fiametta and ending with the corpse of his brother also in need to rescuing from a dark magic ritual.

This is a richly imagined book full of complications and well-drawn characters. It evokes the spirit of Renaissance Italy – albeit a smaller rural Dukedom rather than Rome or Florence – yet incorporates magic in a natural manner. The ending is satisfying and the only slight quibble I have is that Fiametta never does solve the riddle of her mother except to conclude that she was Master Beneforte’s legal and much-loved wife. Though all the dark deeds are nicely tied up and Fiametta and Thur get a good resolution there’s a slight loose end and it’s easy to imagine that Bujold intended to write a sequel in which Fiametta and Thur discover the origins (and powers) of Fiametta’s mother. Sadly – after seventeen years – that sequel seems unlikely.

Book Log 14 - The Spirit Ring

Lois McMaster Bujold: The Spirit Ring

This is vintage Bujold, 1992, a rare standalone published between ‘The Vor Game’ (1990) and Mirror Dance’ (1994) though in many way it feels like a much earlier work. It’s a straightforward fantasy set in a Renaissance Italy where licensed mages work white magic with the blessings (and supervision) of the church, but where the Inquisition still looms to seek out black magic. Fiametta is the daughter of master mage and metal artisan, Master Beneforte. Her barely remembered mother – about whom there seems to be some secret, never revealed – was black, making Fiametta an unusual hue for a free woman of the time. Her father’s only explanation is that her mother was a ‘Christian woman from Brindisi,’ to refute the perception of his peers that Fiametta’s mother was either Moorish, an Ethiope or possibly a Blackamoor slave. Though Master Beneforte has refused to train her in magic arts (because she’s only a girl) Fiametta is learning metal craft and is already skilled in the fine casting of jewellery pieces. She’s also learned far more about magic (and has a talent and a deeper understanding) than her father has given her credit for. As an apprentice piece she has cast herself a silver ring that will show her who her true love is. (Only her true love will be able to wear it.)

When Master Beneforte and Fiametta go to a reception at the Duke’s palace to present a work of art (a magical salt cellar, the contents of which will always reveal and neutralise poison) on the occasion of the betrothal of the Duke’s daughter to neighbouring Lord Ferrante, they don’t expect trouble, but Lord Ferrante has brought an unusually large honour guard of fifty fighting men. When Ferrante kills the Duke, his men quickly take over the palace and the town, in the process killing Uri Ochs, the captain of the guard and a young man that Fiametta had been sweet on.

Suddenly Fiametta and her father are on the run from the invaders and though they get away, her father soon dies of a heart attack leaving Fiametta alone with his body. And it’s the body that’s the problem, for an unburied body and an unshriven soul can be used for black magical purposes by one ruthless enough to do so, and Ferrante has a magician in his retinue prepared to do just that. If he can complete the rites before Fiametta can stop him Master Beneforte’s power and knowledge will be trapped within a spirit ring and in his and Ferrante’s power.

Fiametta’s allies include an elderly warrior-turned-church-man and Thur Ochs, Uri’s younger brother who had been on his way to join the Beneforte household as an apprentice when the trouble began. Fiametta is amazed when Thur, whom she sees as nothing more than a country clod, is able to wear the ring that his brother could not put on. For better or worse, Thur is destined to be her true love. Luckily Thur is far more than he seems. Uneducated but intelligent, kind and patient (not to mention tall and strong as an ox) he has a knack of finding things that are lost, starting with Fiametta and ending with the corpse of his brother also in need to rescuing from a dark magic ritual.

This is a richly imagined book full of complications and well-drawn characters. It evokes the spirit of Renaissance Italy – albeit a smaller rural Dukedom rather than Rome or Florence – yet incorporates magic in a natural manner. The ending is satisfying and the only slight quibble I have is that Fiametta never does solve the riddle of her mother except to conclude that she was Master Beneforte’s legal and much-loved wife. Though all the dark deeds are nicely tied up and Fiametta and Thur get a good resolution there’s a slight loose end and it’s easy to imagine that Bujold intended to write a sequel in which Fiametta and Thur discover the origins (and powers) of Fiametta’s mother. Sadly – after seventeen years – that sequel seems unlikely.