Savoring "Night Crossing" . . . a Review

When I planned the schedule of blogs with my intention to post this review Friday, August 15, I had not considered that Night Crossing is a book with its own spirit and purpose. There are questions being asked that will arrest progress through its chapters by capturing thought and time. And so, I come late to write my review.

When you drink wine, do you gulp it down; racing to the bottom of your glass? Do you savor it; holding it in your mouth; flicking it with your tongue; allowing yourself the pleasures of experiencing its texture, the changing flavors as it rolls over your taste buds, splashing against your palate. Night Crossing is a story that, like pleasing wine, deserves to be savored.

 

Title: Night Crossing
Author: Mary E. Martin
Series: The Trilogy of Remembrance
Publisher: iUniverse (June 20, 2014)
ISBN-10: 1491737158
ISBN-13: 978-1491737156

The Trilogy of Remembrance comes to an inspired and satisfying conclusion in, Night Crossing. Enter our hero and favorite artist, Alexander Wainwright, vision guided into a swirling dream like progression of thought, darkness, light, and dancing rhythms which open windows to the heart and soul of creative experience. He is the student and the observer of life. He journeys, inspired and driven by compulsions and forces he does not understand, meeting guides and antagonists along the way. Each in turn adds to the mysterious patterns being woven around him. Their destinies entwined.  His muse Daphne, faithful narrator Jamie, and friends both new and old will enter your heart and find their way to places that resonate. A new story unfolds, new mysteries are explored as Alex frees his unique inner light and searches for the place love holds in his art. These characters breathe. They hurt and love, like we hurt and love. Their stories, choices, and struggles give us pause because they are stories we recognize as versions of our own.

I love Mary’s writing, which is eloquent and full of human insight. In Night Crossing, as in the previous books of the trilogy, she reveals surprising depths of interest and perception –both spiritual and aesthetic, into the visual, musical and performance arts.  Through her story telling she has the reader pondering many ideas, concepts and truths relating to creativity, spirituality, and life. Her writing illuminates much and yet leaves room for further exploration. I find her work entrancing and provocative, without being pushy. I will miss Alexander and find myself wondering how she might work him into another novel or series now that his trilogy is complete.

Do I recommend Night Crossing? Oh yes, yes indeed, I do.

Synopsis: Magical light suffuses Alexander Wainwright's paintings. But he must find something new. A vision of a golden sphere studded with gems appears before him-the cosmic egg, source of all creativity. Next day, his art dealer shows him an unsigned painting of the very same cosmic egg dedicated to a Parisian pianist, Dumont. Does the cosmic egg exist not just in Alex's imagination but in the real world? That burning question drives Alex to take the ferry-a night crossing- from Portsmouth to Caen and then onto Paris to find the pianist and the artist. On that trip, the elderly Miss Trump, enters Alex's life with myriad mysterious effects. The ferry capsizes. Alex tries to save her and a young mother and her child. Miss Trump drowns but mother and child are safe. When her body is mistakenly cremated, Alex is seized with an inexplicable sense of responsibility and carries the ashes with him to Paris where he simply comes across Dumont playing in a café. The pianist says the painter, Anton, is in St. Petersburg. Still determined to carry the ashes, Alex travels by train to St. Petersburg to find the artist. Stunning revelations await him. Learning far more than imagined, he finally understands the meaning of his vision and the true purpose of carrying the ashes across Europe. But when he returns to London, he may find that he has lost what he cherishes most-Daphne, his love and muse. This tale is about love so strong it transcends life and death. It's about cruelty and compassion, life, art and the magic of creation. All told, it speaks of that yearning within us for what lies beyond.

Mary E. Martin is the author of two trilogies The Osgoode Trilogy set in the corridors of power in the world of the law, and The Trilogy of Remembrance set midst the glitter and shadows of the art world.

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Trilogy of Remembrance: an interview with author Mary E. Martin

In celebration of publishing part three in her Trilogy of Remembrance --Night Crossing, I am posting an excerpt from an interview I did with author Mary E. Martin, when book two, The Fate of Pryde, was released.

Read our review of Night Crossing when it posts on Friday, August 15, 2014.

It is always a pleasure to speak with an author about their work and process, but Mary's interview was especially interesting. She gave our readers a fair amount of personal insight into what motivates her as an author, as well as her writing process for the Trilogy of Remembrance.  Today's excerpts will only include questions and answers pertaining to the Trilogy of Remembrance.

Mary E. Martin  is the author of two trilogies The Osgoode Trilogy set in the corridors of power in the world of the law, and The Trilogy of Remembrance set midst the glitter and shadows of the art world.

This excerpt has been taken from the Ink Slinger's Whimsey blog for,  August 24, 2011.

Author Mary Martin

Martin: My second trilogy of novels [The Trilogy of Remembrance] is about an artist, Alexander Wainwright, Britain’s finest landscape painter. The genesis of this trilogy occurred many years ago, before the publication in 2005 of my first novel, Conduct in Question, the first in The Osgoode Trilogy.
A writer friend/mentor of mine challenged me to write something other than a mystery novel. And so, I tried to write a romance, with little success. I had a man and woman meet while travelling on [believe it or not] the Orient Express to Venice. After thirty pages, I was getting bored. I knew enough to say that if the writer is bored, heaven help the reader!
At that moment in time, I envisioned a mysterious character who pretty much appeared in the room in my imagination. At once, I knew he was the protagonist for the book. It took a long time to get to know him, but after innumerable character sketches and other jottings, he became Alexander Wainwright, Britain's finest landscape artist. He would be the main character around which the next trilogy would be built. So, I suppose it was Alexander, himself, who inspired the trilogy. Once I got to know him a little bit, I found he had a great deal to say.
My experience has been that the characters an author creates are a part or aspect of oneself. Consequently, the growth of Alexander — a person who believes that there is much more to this world than meets the eye — probably is my inquiring, prodding, reflective self. I present him with many questions to which I personally want to find answers.

The next novel in this trilogy—The Fate of Pryde—will published this fall on Amazon’s CreateSpace. Again, Alexander is the protagonist and I’ve presented him with a new character from whom he has much to learn, Jonathan Pryde. Pryde is an extremely wealthy patron of the arts who wants to commission Alex to create a vision in stained glass for his residence in Vence in the south of France. Alexander hesitates. After all he is a painter, not a glass cutter. But Alex is drawn into Jonathan’s strange and murky world. At the foot of the garden of Pryde’s chateau-like home, stands a bunker protecting his secrets. In this novel, the question posed to Alex is—How can the very best and the very worst of humankind reside in one’s man breast?
And so, I love to present my protagonist with all sorts of problems to reflect upon. I have a few ideas for the next novel, but the trick, as always is to create a driving plot to find all the questions and— a few answers.

Faroqui: How do your books evolve? Do you get a creative burst which eventually matures into a novel? Do you pick a theme and lay a foundation? How do you approach the creative process?

Martin: I think each novel evolves in its own way. A lot like raising children—each one is quite different. It seems I do a lot of work “in the back of my mind” and so, when it’s ready, I sit down and get started. The growth of The Drawing Lesson was quite unusual. In fact it started out as a novella or even three novels and so the structure of a full novel was not really in place at the outset. Parts or scenes of the novel kept “floating up” to me and I would write them down without really knowing why. And so, I made a rule for myself—not to throw anything out until much later. It was like walking on a beach and coming across different shells and having to decide whether to pick one up and carry it home or not. Not until the end of the process did I cut out or change significant portions of the manuscript.
So, sometimes it starts out as an idea or a kind of character or a bunch of questions. I think I’m a pretty “organic” writer in the sense that I like the natural flow of the story to take over and guide me where it wants. I’m a great student of Carl Jung and consequently really believe in the power of the subconscious, which I think is a lot smarter and more creative than I am.

Faroqui: Some people believe that in order to be truly creative a person has to be tormented, or have deep inner turmoil? What do you think of that notion?

Martin: No! At least I certainly hope not. Much is made of battles with inner demons. But it’s interesting you should ask. In fact, Alexander Wainwright does have a battle like that in The Drawing Lesson. Suddenly, this artist, known for his beautiful landscapes bathed in an ethereal light, starts painting trolls—ugly humanoid creatures—along the riverbank of his most recent painting. Of course this heralds a breaking up of his art so that he can advance creatively. I guess I’ve inflicted that on Alex so that I don’t personally have to deal with it. But seriously, I don’t think you have to suffer in order to create. I guess you do go down into the subconscious where wonderfully creative stuff resides, but so does a lot of stuff of nightmares.

Faroqui: What do you hope readers will come away with when they read one of your books? Do you send messages through your work, hoping to inspire perhaps?

Martin: I hope the reader will enjoy looking beneath the surface of life for various layers of meaning and have found moments of quiet reflection. But, I also hope the reader has also been fabulously entertained with a great story and fascinating characters. In the weeks and months to come, he or she will think back to something in The Drawing Lesson or The Fate of Pryde and say— "This person I've just met in real life reminds me of a character in that novel like Rinaldo or Daphne or Jonathan Pryde."

Link to the full interview, 8/24/2011.

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