Pentiment is a beautiful portrait of history that explores genuinely insightful questions about authenticity in art and what it will come to mean centuries later. Read our review.
In her essay on vellum, the material made from animal skin that forms the pages of medieval manuscripts, Sarah Kay begins with the following observation: “As skin, it becomes in fantasy a double of the reader’s own skin—for example, as an envelope, or as an opposing face.”begins with you returning a manuscript to its blank, animal-skin state, dragging a stone across ink to erase it.
You spend most of your time speaking with others to find information about the murder and the town, conversations that look like they’re out of a book themselves. Individuals speak how they write: Maler’s dialogue comes out in Gothic script, the kind you’d see filling a 14th century illuminated manuscript, while the printmaker lays out his speech in black blocks.
All this characterization pays off as time passes and you get to know the townspeople and monks. The growth you see is especially important given thatis set in one of the most fascinating transitional periods in medieval European history, between the invention of the printing press and its eventual replacement of handwritten manuscripts.
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