The Daughter of Siena (39 page)
by Marina Fiorato
A
bout the Author
bout the Author
• A Conversation with Marina Fiorato
B
ehind the Novel
ehind the Novel
• Do You Know?
K
eep on Reading
eep on Reading
• Recommended Reading
• Reading Group Questions
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ST. MARTIN’S GRIFFINReading Group Gold
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A Conversation with Marina Fiorato
This is your third novel set in Italy. Your first,
The Glassblower of Murano
, took place in Venice;
The Botticelli Secret,
Tuscany; and this one, Siena. What led you to this city? And why did you want to write about it?
The Glassblower of Murano
, took place in Venice;
The Botticelli Secret,
Tuscany; and this one, Siena. What led you to this city? And why did you want to write about it?
Siena is a fascinating city, which, before writing this novel, I’d only visited in passing. What’s interesting about it is that when you actually stay there and get to know it, rather than visit on a day trip, you realize that it is a complete little world of its own—a microcosm of a larger society and the world outside.
The Daughter of Siena
reflects all the political and social tensions that were going on in the city, in Italy, and in society at large at the time. It deals with tensions between classes and tensions between royalty and republic, as well as love between man and woman, parent and child, horse and rider, and love for one’s city. The unique way that Siena is organized—small city wards known as
contrade
with their animal symbols and fierce loyalties—means that each area behaves as a little nation, with alliances giving way to wars and then periods of peace. And all of these tensions come to a head twice a year, at the famous Palio horse race.
The Daughter of Siena
reflects all the political and social tensions that were going on in the city, in Italy, and in society at large at the time. It deals with tensions between classes and tensions between royalty and republic, as well as love between man and woman, parent and child, horse and rider, and love for one’s city. The unique way that Siena is organized—small city wards known as
contrade
with their animal symbols and fierce loyalties—means that each area behaves as a little nation, with alliances giving way to wars and then periods of peace. And all of these tensions come to a head twice a year, at the famous Palio horse race.
How, if at all, was the process of writing
The Daughter of Siena
different from your other novels? Did you do a lot of research about the Palio? And, in crafting your story, did you stick to historical fact? Or did you take artistic liberties?
The Daughter of Siena
different from your other novels? Did you do a lot of research about the Palio? And, in crafting your story, did you stick to historical fact? Or did you take artistic liberties?
I did a lot of research into the Palio in particular and horses in general. Although I visited Siena, of course, I also did a lot of research into horses in England, not in an intellectual sense, but in a handson
way. I got to know my neighbor’s ponies, went to horse races, and learned much more about these fascinating creatures. The research for this book was therefore much more practical than before: I got my hands dirty in the stable! As far as fact versus fiction goes, I always try to be historically accurate, broadly speaking. But as I’m writing a work of fiction, rather than a historical tract, sometimes I will bend the truth in the cause of a good story, or dramatize certain events.
way. I got to know my neighbor’s ponies, went to horse races, and learned much more about these fascinating creatures. The research for this book was therefore much more practical than before: I got my hands dirty in the stable! As far as fact versus fiction goes, I always try to be historically accurate, broadly speaking. But as I’m writing a work of fiction, rather than a historical tract, sometimes I will bend the truth in the cause of a good story, or dramatize certain events.
Your depictions of the Palio horse races are heart-pounding. What about riding horses or attending horse races inspired you?
One of the things that struck me about the Palio and horse races that I attended in England was the fact that you could actually feel the thunder of the race in your chest as the runners go past. This singular sensation, that it’s a physical experience for the watchers, gave me the most insight into the excitement of the race. Of course, if you add into the mix that you may have put a bet on a horse, or that you might care very deeply about one of the riders as Pia and Violante do, it becomes a financial, mental, and emotional experience too. It’s completely holistic. I used to ride as a child, and still do when I get the chance. I’m drawn to it because it’s so essentially historical. Whatever the modern changes in tack or saddlery, the fact is that riding—the relationship between horse and rider—has gone unchanged for thousands of years. That connection with the past is very beguiling to me.
How much—or how little—are you like Pia? Did you find inspiration for her character, or her story, anywhere in your own life?
About the Author
Well, I certainly wasn’t sold into an arranged marriage and I’ve never suffered in the ways she has! But I admire—and aspire to achieve—her spirit, and hope that I would show the same ingenuity and “gumption” in circumventing her circumstances. She can be quite impulsive though, whereas I’m a bit more calculating!
You once wrote that “when [you] open a historical novel [you’re] taking a trip to a different land.” Do you do a lot of traveling? Do you have any fantasy vacations in mind that you’d like to take? Or places you’d like to visit … and write about someday?
I do a fair bit of traveling for research that gives me the pleasure of going to Italy about twice a year. This year I also went to Zagreb for a literary conference and look forward to going back to Croatia this summer, this time to the coast. But my next book is partly set in Istanbul so I’m slowly edging to points farther east—the relationship between Byzantium and Venice has always fascinated me and I’m looking forward to discovering more about it.
Marina with her children, Conrad and Ruby, at Venice’s Palazzo del Popolo
Behind the Novel
Do You Know?
There used to be twenty-three
contrade
instead
of seventeen. In the sixteenth century, the
contrade
of the Viper, Strongsword, Cock,
Oak-Tree, Lion, and Bear were suppressed
for sedition and violence.
contrade
instead
of seventeen. In the sixteenth century, the
contrade
of the Viper, Strongsword, Cock,
Oak-Tree, Lion, and Bear were suppressed
for sedition and violence.
The entire Palio race takes only seventy seconds.
Horses can win the Palio without a rider.
This is called riding
scosso
.
This is called riding
scosso
.
Riccardo Bruni was named after Richard Brown,
Marina’s brother-in-law, who’s a keen horseman
and racehorse owner.
Marina’s brother-in-law, who’s a keen horseman
and racehorse owner.
The Tower
contrade
connects Riccardo with the
character of Brother Guido from
The Botticelli Secret,
who was from Pisa and named della Torre.
contrade
connects Riccardo with the
character of Brother Guido from
The Botticelli Secret,
who was from Pisa and named della Torre.
Marina has included the “lucky totem” of a
giraffe in all of her novels. In
The Daugher of Siena,
one of Siena’s seventeen
contrade
is called
Giraffa, and the animal is its emblem.
giraffe in all of her novels. In
The Daugher of Siena,
one of Siena’s seventeen
contrade
is called
Giraffa, and the animal is its emblem.
Recommended Reading
The Flambards Trilogy, K. M. Peyton
Starting at the beginning … my interest in horses really began with this series. The trilogy is actually for young adults, but it is a wonderful trio of books about English heiress Christina Parsons growing up just before and during World War I. In the first book, the orphaned Christina moves to the eponymous
Flambards,
a crumbling mansion that is home to the all-male, horse-mad Russell family. The scenes where the groom, Dick, teaches Christina to ride are beautifully written and insightful. In the third book,
Flambards in Summer,
the newly widowed Christina returns to the house and makes it live again through the stables. She buys a damaged warhorse, Argus Pheasant, whom she rehabilitates, and through him, heals herself.
Flambards,
a crumbling mansion that is home to the all-male, horse-mad Russell family. The scenes where the groom, Dick, teaches Christina to ride are beautifully written and insightful. In the third book,
Flambards in Summer,
the newly widowed Christina returns to the house and makes it live again through the stables. She buys a damaged warhorse, Argus Pheasant, whom she rehabilitates, and through him, heals herself.
Other books
His Captive Lady by Carol Townend
The London Eye Mystery by Siobhan Dowd
The Horse Tamer by Walter Farley
Absolute Pleasure by Cheryl Holt
Miss Julia Inherits a Mess by Ann B. Ross
Yvvaros: The Clash of Worlds by Alex Mulder
A Charming Cure by Tonya Kappes
Seven Wonders Book 2: Lost in Babylon by Lerangis, Peter
God's Problem by Bart D. Ehrman
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