It's a Hard-Knock Medieval Life By Diana Gabaldon,

Washington Post Wednesday, May 7, 2008; Page C04
CATHEDRAL OF THE SEA By Ildefonso Falcones Translated from the Spanish by Nick Caistor Dutton. 611 pp. $26.95
Mark Twain's description of the art of storytelling consisted of a laconic "Oh, I chase the characters up a tree and then throw rocks at them." Ildefonso Falcones has eviden

tly taken Twain's correspondence course.
Life for Arnau Estanyol, Catalan hero of Falcones's international bestseller, starts out rocky: The local lord rapes Arnau's mother on her wedding night and then, not wanting his wife to accuse him of fathering yet another bastard, forces the young woman's husband to have sex with her immediately -- with witnesses -- to confuse the issue.
A fortuitous birthmark establishes the husband as Arnau's father, but now the noble lord is infuriated because he thinks his manhood has been impugned. He forces mother and child into his castle, leaving the husband bereft. From there things go downhill for the Estanyols.
"Cathedral of the Sea" could be subtitled "Nobles Behaving Badly." Whenever an aristocrat enters a scene, expect Big Trouble. Arrogant knights, debt-ridden barons, conniving wives, greedy kings -- it's soap opera on a grand scale, made believable and enthralling by the inclusion of the commonplace brutalities and small compassions of life in medieval Barcelona. Watching Arnau's rise from literal rags to riches is frequently like watching a series of train wrecks; you're horrified but can't look away.
Between disasters, we're treated to exegeses regarding the political affairs of Pedro the Cruel, Pedro the Ceremonious and Pedro the Third, with Phillippe the Bold, two or three Infantes and King Jaime of
Mallorca thrown in for comic relief. We also get descriptions of the financial and legal complexities of money-lending and Mediterranean trade, and occasional lessons in the history of Barcelona and Catalonia. Readers who don't read historical novels for educational purposes might be tempted to skip these passages. Don't: All of them have something to do with the plot, which is so beautifully structured that the last 60 pages detonate like a string of firecrackers.
Stylistically, Falcones is a minimalist. He rarely describes what characters look like, and here is virtually his entire description of an important sea battle: "At dawn, Pedro the Cruel ordered the attack. His fleet approached the sandbanks, and his men began to fire their crossbows and to shoot stones from catapults and bricolas. From the other side of the banks, the Catalan fleet did the same. Many men died from the crossbow bolts fired from both armies."
Though uncomplicated, the prose is powerful, no doubt due in part to the skill of the translator, Nick Caistor; the simplicity allows us to appreciate the riveting story without the distraction of ornamental language. Falcones has an eye for the singular, telling detail, and if his characters are simply drawn, they're believable.
Arnau is not quite your stereotypical hero. He's not all that bright, and most of his successes are the result of sheer luck or of falling in with people who are much smarter than he is. But he is good-hearted and stubborn about the few things he believes in.
Falcones's women really are all madonnas or whores and sometimes both at once, with the odd scheming harpy thrown in. Oddly, while most of the men in the book, other than the horny nobles, are celibate, many of the women are seething masses of molten desire. This was, of course, exactly the view of women promulgated by the Catholic Church at the time. Falcones's women eloquently make the point that for much of human history, women had no value other than sex and thus no power aside from it. And sex, as anyone -- especially Arnau -- can tell you, is a double-edged weapon.
Given Arnau's involvement with the ongoing construction of the cathedral of the title (a real one, Santa Maria del Mar) throughout the book, comparisons with
Ken Follett's architectural historical novels, "The Pillars of the Earth" and "World Without End," are inescapable, but aside from length and the central concept of architecture as metaphor, Falcones and Follett are entirely different in style, structure and theme. Follett merely describes the medieval mind-set to a modern audience; Falcones enters it, complete with its acceptance of brutality and embrace of religious sensibility.
"Cathedral" deals with the right of an individual -- a serf, a slave, a Jew or a woman -- to be recognized as a human being. This wasn't a popular concept in medieval Catalonia, but Arnau stands by it. While his principles frequently get him beaned with an authorial rock or arrested by the Inquisition, they also see him through. Arnau is the common man, and his eventual victory is one that every reader will celebrate.