A Troubadour's Testament

by James Cowan

Book Overview

The author of "A Mapmaker's Dream" takes readers on a magical journey through 12th-century Provence to discover the spiritual power of perfect love. Among the papers in a local museum, a writer... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 1570623392
• ISBN13: 9781570623394
• Release Date: March 1998
• Publisher: Random House (NY)
• Length: 198 Pages
• Weight: 0.75 lbs.
• Dimensions: 0.8" x 5.3" x 7.6"

Customer Reviews

A strange and compelling novel.

"The reason for writing is to shelter something from death." André Gide James Cowan uses this quotation as an epigram at the start of his book. I think the reason for his own writing is certainly to shelter something from death, but he is very secretive about what that "something" is. In A Troubadour's Testament, perhaps he tells us in the title, for troubadours are believed to have carried with them on their journeys the secret knowledge of the path to enlightenment and spiritual perfection. Their "testament" was the affirmation of the primacy of love in such a quest - perfect spiritual love: Platonic love - which they expressed in their poetry and music. But this is a strange book. The story begins with the narrator's discovery of an ancient death roll - a twelfth-century scroll which had belonged to the troubadour-poet, Marcebru, and on which was his eulogy to his love, a Cathar nun called Amedée de Jois. On the scroll, too, (as was customary) are tributes to her from others, which have been added on Marcebru's journey across Aquitaine. The narrator sets out on a journey of his own, retracing Marcebru's steps in reverse and trying to discover his motivations and something more about his love. This is, of course, the narrator's quest, and the usual testing of the questing hero takes place in some very strange encounters on his path: a blind artist; a philosophical paper-maker; a gold-panner from "the museum of life" who pans pools for poetry; a doctor who regards illness as an illusory condition; a Sufi story-teller in a fortress-bound tent; an ancient Abbess. For a long time, perhaps because I have been working with quest material recently, I thought this book was a fairly straightforward re-casting of the old questing journey: highly imaginative and full of poetry, but presenting the usual journey pattern and the usual 'secret' knowledge about the search for Truth. But the end surprised me, although it should not have done so, for it was exactly the traditional completion of the quest - "In my beginning is my end" as T.S.Eliot put it. My review copy of this book was accompanied by a transcript of an interview with James Cowan. He and the interviewer discuss solitude and silence, the limitations of language, and the "debased currency of words": all themes which are explored in the book. "Who do you think "A Troubadour's Testament" will appeal to?", Cowan is asked. His reply: "Thoughtful people. People who are not content with the way things are. People who enjoy reverie. I think a writer must have the courage to create his audience not have it created for him" Well yes, the audience for this book will be fairly limited, but I am not sure that this is James Cowan writing at his best anyway. And perhaps that does have something to do with the limitations of language for the testament he is trying to affirm. -- Ann Skea, Reviewer

Enchanting!

Perhaps A Troubadour's Testament isn't exactly the kind of book that would be classified as a page turner, but it had the qualities that a memorable book would have. With Cowan's talent of putting history into tales of enchantment, he has written this novel with discoveries about death, love, and faith that touches and deepens hearts and minds. It makes the reader think about his/hers life. Through Cowan's well plotted characters and events, we are able to capture an essence of the search for perfect love.

Well, maybe "dog" is too strong a word....

In fact, I now think it's the wrong word altogether. More than that, I think I misjudged the book entirely! My apologies Mr Cowan. I confess that the first time I read it I didn't like it all (and said so in a review on this website). But there was something about the book that captivated me, not allowing me to dismiss it so easily. Cowan writings has that effect on the reader, I have learned. I've read it three times now. A TROUDADOUR'S TESTAMENT is not a succession of chapters so much as a collection of paintings; a tableaux in which the dialogue between the main character and the people he meets, his emotions, the scenery, all blend together to form a series of living pictures. Each picture relates a different phase in the main character's pilgrimage across France. With Cowan's encyclopedic knowledge and artful writing, they are beautifully crafted pictures as well. What I mistook the first time for underdeveloped plot and immobility on the part of the characte! rs was this "tableaux effect" (tableaux are not tableaux if things move too much!). A TROUDADOUR'S TESTAMENT is an acquired taste. At least for me it was. But acquired tastes are also the longest lasting. I would still recommend Eco's THE NAME OF THE ROSE and Gaarder's THAT SAME FLOWER, though for different reasons than I now recommend A TROUBADOUR'S TESTAMENT. It is unique work and deserves to be enjoyed as such.

A deeply felt story about love and imagination

A medieval death roll is at the core of this book. Death rolls were carried around by medieval wayfarers and friends of the deceased would write pithy little obituaries on them. There are two wayfarers in this case, Marcebru the troubadour and the narrator who follows Marcebru around exotic haunts in Languedoc. Marcebru is in search of the lost love that had fired his poetry and his imaginative life. The narrator follows the troubadour's journeying but is more interested in Marcebru's inner quest for the recuperation or rejuvenation of an ideal love (or love of an ideal - the two are soon seen to be related). What draws the narrator on is the quesion of why Marcebru would have thrown the death roll into the river at Ussel before disappearing from the pages of history himself (I assume he is an historical character). I liked how the death roll survived. Each chapter has a point to make about love and imagination and the story moves along fast. The modern world of present day Languedoc, Spain and Italy pale into the background against the vivid imagining eye of the narrator as he travels the troubadour's route and interviews odd characters. Conventional literary characterisation is not followed as each meeting is of heraldic significance. The dialogue is thoughtful and amusing at the same time. The quotations from the scroll are absolutely convincing and inspired. The authenticity of the scroll and the narrator's rapport with Marcebru's poetry and imaginative values really give this book weight and depth. But the thing that really makes this book enjoyable is that, by contrast, the overall flavour is light, humerous in places and never heavy-handed; not for a word laboured or dull. It is better than A Mapmaker's Dream. I found this book an effortless combination of magic and realism. A tonic for the soul and if I was young and read it I'd be off to Languedoc tomorrow!!