The author of Girl With a Pearl Earring doesn't fix what isn't broken, as it were, as she tackles another masterpiece of art history. I am glad, however, that I had no concept of the eponymous work in The Lady and the Unicorn when I read the story, for it was much prettier in my mind than it is in real life. The work is a tapestry, a symbolic depiction of seduction woven in garish reds and blues and yellows, with impersonal, stylized figures and a general simplicity that I found too primitive to be engaging. Reading the book, I imagined a lush, complex composition so realistic it was absolutely arresting, which was due largely to Chevalier's descriptions.
Because the tapestry was all about sex, the novel was, too. I found it extremely titillating, if rather risque. Nicolas des Innocents, the designer of the tapestry, conquers all kinds of women as he travels between Paris, where he lives, and Brussels, where the tapestry is woven. His patron's daughter falls in love with him, and he captures her likeness in the work. He also includes his patron's wife, a tragic, unloved woman who failed to produce a male heir. In Brussels, Nicolas loves the weaver's blind daughter who, to avoid an unsavory marriage, sleeps with him and gets pregnant. Her story is quite touching. Nicolas adds her to the tapestry.
The narrative point of view jumps from character to character, but not haphazardly. Rather, it begins with Nicolas, and moves through a roster of characters twice before ending again with Nicolas. I thought it a beautifully fluid way to proceed.
The tapestry is declared a success in the book. I viewed it on the Internet, and was not as enthralled. But it was an engaging story. Of course, Chevalier did write some of the novel from a male point of view, an action of authoresses that I find inexcusable in its presumption and incapable of producing a male character free of effeminate or idealistic elements. Still, much of fiction is entirely fantasy. I'm afraid I am going to lose my opinions in qualification.
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