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Leonora Valeri, previously exiled by her father. The
Dubrova merchant Marin guides them through the "political and physical hazards" of their eastward journey. Pero is chosen to paint a western-style portrait of the khalif Gurçu, the principal Osmanli threat. Danica and Leonora meet during a raid by the pirates, and develop a "survival friendship".
149:
There are five principal and numerous secondary and ancillary characters. The warrior Danica Gradek is a skilled archer seeking vengeance for the abduction of her brother Neven by the
Osmanli; she is recruited by Senjan pirates. The young artist Pero Villani is ambitious and tries to court the spy
287:
Hobbs also stated that Kay's prose is an obstacle, because he describes a character as unconventional instead of placing that character in an action (such as "loosing arrows accurately and effectively while the conventional young women look on conventionally") that demonstrates the trait. He said
305:
covers a "grand sweeping tide of history" including "the rise and fall of cities and empires, the collision of religion and culture, a messy continent-striding tangle of politics, religion, economics, and ethnicity". He also stated that the story shifts seamlessly from the macro to the micro by
153:
Senj is a nation state that opposes
Osmanli expansion and has contemptuous regard for those who trade with them, raiding their ships. Dubrova is an emergent trading nation that avoids antagonizing the powerful Seressa empire that dominates trade. The latter maintains an extensive spy network.
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of the novel is generally slow, also typical of Kay's works, and in his review
Alexander states that Kay is not the "sort of author to race towards a destination" and that the "joy of his novels is invariably in the journeys".
146:, are worried of an impending threat by the growing Osmanli empire whose cultural and religious traditions may eclipse their own. Meanwhile, the duke of the Jaddite city of Seressa seeks to secure and strengthen his position.
243:, Gary K. Wolfe stated that the "lush historical tapestry" provides the setting for "compelling, sympathetic characters" and "convincing secondary characters" with stories that intersect in a clever fashion. In a review for
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described the setting as "lush, well-researched, and well-painted", and that history may be the "strongest character" and identifiable as the
Mediterranean of the 16th century. In a review for
267:, David A. Hobbs states that one can "trace the outlines of the Adriatic 15th century, but ... they disappear behind images from Kay's own imagination". Jones stated that the
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306:"scaling down epic events so that history becomes humanized". Jones states that the story is "compelling reading, epic in scope but also closely personal".
202:, Kay stated that the name Seressa was chosen as an echo of "La Serenissima", a traditional name associated with the city state when it was considered a
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Kay states that while conducting research for his novels, he often acquires folkloric knowledge and learns the history of various places. For
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Kay's use of the supernatural is described as intentionally restrained, and the story has a "light touch with the fantasy". In a review for
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in the novel is "remarkable" and imbued with "richness and complexity". In the book, Kay includes a list of
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The novel is based on 16th-century Europe, in which the cities of
Sarantium and Seressa are analogues for
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that he could not "stop finding bothersome sentence structures similar to those in
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published in 2016. It was the first novel he wrote after receiving the
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that among his favourites were learning about the origins of
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117:A Brightness Long Ago
943:2016 Canadian novels
805:Sailing to Sarantium
796:The Sarantine Mosaic
521:. Fantasy Literature
380:. Fantasy Literature
237:In a review for the
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139:The Sarantine Mosaic
69:New American Library
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