You know, normally I would have replied that, if an author has decided to create a language, a culture, those creations are just as subject to criticism as any other part of their writings.
OTOH, having slowly made my through about the first quarter of the book, names have now devolved to the usual word soup that is common in fantasy. I’ve just given up on it making any sense or rhyme in that department.
My expectations were misled and inflated by the opening note and Kay’s work on the Silmarillion.
BTW even though I don’t dislike Dianora, not at all, one of my pet peeves in literature, is in your face ‘multi-threaded’ (is there a better term?) books.
You know like, when you’re reading GRRM, and you’re dying to know what’s going to happen to Arya Stark, and instead he yanks the story back to damn Danaerys? GRRM made me loathe that character (generally I have a dislike for books that portray in great detail the travails of a character who’s being abused, like the titular Wind-up Girl), so much that I was surprised this feeling didn’t carry over to the TV series.
The first book that I can remember doing that for me was likely Count Zero.
But back to Tigana, the depiction of Brandin’s saishan is easy to read, and I guess this change of subject gives the opportunity to set up convergences in the later parts of the book, as well as creating a break in time through which Devin and Alessan’s party can morph into something different, more cohesive and credible.