I thoroughly enjoyed this book. Historical mysteries, especially a combination of a present day mystery mirroring a history from the past, are my favorites, and this one kept me very interested throughout. Personally I was more interested in the present day mystery, because I found it more compelling and liked the romance better; but I enjoyed both. Daniel Forster is an young englishman who comes to Venice to work for a vaguely shady (or is it shadowy?) antique dealer named Scacchi. He is captivated by the old man and his household, which includes an attractive housekeeper (whom I imagined as a youngish Sophia Loren.) Daniel discovers an ancient unattributed symphony in the walls of his boss' ancient palazzo and is soon caught up in an illegal intrigue involving so many threads I can't do justice to them all and won't even try. At the same time a parallel voice from the 18th century recounts the story of the composing of the symphony and how it was lost. Both stories include murder, deception, deviltry, double dealing and romance. I guessed some of the plot twists, but definitely not all of them. This put me in mind of another delicious confection -- "The Savage Garden" by Mark Mills, where another Englishman travels to Italy and pits his very English ways against those of the wily, world weary Italians. Both were well written escapism, my favorite. The one thing that made me like Mark Mills' novel better was that I listened to both on my iPod, and "Lucifer's Shadow" was read, during the part taking place in the 18th century, by an anglo using a very broad italian accent that was vaguely comic and ludicrous, especially when he was saying things like "he's a good chap". Now, when David Hewson was writing this I'm sure he wrote as if this were just an English translation of the Italian, but the reader did it as if he were an Italian speaking directly in English, and the language and the accent just did not mesh. I kept being aware that if I'd been reading it, I wouldn't be having the same reaction, so I would recommend reading rather than listening to this book.
So far it's a slow read. A lot of back and forth from present day Venice and the past. I'm starting to get the hang of the style and things are getting more interesting. I'll let you know how it goes from here.It got better, or I got better at figuring out which century we were in. The biggest problem was that in both centuries one of the main characters was named Sacchi and everything had something to do with a Sacchi who was a bit crooked, so until you get the background and/or the other characters, it just wasn't clear where/when you were. Still it was an interesting look at Venice in both centuries and had a main character in the past who lived in the Jewish Ghetto (where I have actually walked). Not a bad read if you are just looking to read something - might be a decent beach book. I was suprised since I have read 2 of Hewson's books before and they were very good. I believe this was his first published book and did not feature his Nic Costa character. It is however a sign of how much an author can improve as they continue writing.
What do You think about Lucifer's Shadow (2005)?
There are two stories between the covers of LUCIFER'S SHADOW. Both stories are set in Venice; the first of which is set in the 18th century at the time of Vivaldi (who plays a role in this story) and the second of which is contemporary. In the first story (which alternates with the modern story, a young man, Lorenzo Scacchi is an apprentice to his uncle in a printing house. The printing house is somewhat of a vanity press. Lorenzo's adventure starts when his uncle sends him into the Jewish ghetto in the city to pick up a young woman, Rebecca, to play in Vivaldi's orchestra at La Pieta, a church in Venice. Not only is it illegal for Lorenzo to do this, but it is illegal for her to go into the church. If the secret got out, she, her brother and Lorenzo could all face strict punishment; moreover. Meanwhile in the present, Daniel Forster has been invited to take a job cataloguing a private book collection of a descendant of the Scacchi family. Daniel becomes involved in some shady business dealings on behalf of Scacchi, but soon discovers that things are not what they seem. The 18th century story weaves in and out of the modern-day story, following chapter by chapter, until they seem to be telling the same story. I cannot begin to do this one justice by telling you about it...you have to read it!I loved, absolutely LOVED this book. My favorite types of stories are those in which something from the past makes an appearance in the present and has a bearing on the course of the present. This book was phenomenal and I highly recommend it.
—Nancy Oakes
It is especcially the atmosphere of Venice, both now and a few century's ago that is so gripping in this 'adventure'. Of course there are enough mysteries and even a murder or two on the shelf, but it is the elegance and the beauty of the city that makes you wanna go back there every time you lay your book aside. The two parralel stories eventually come together and the end is rather surprising. Whilst you read, put on some soft Vivaldi concerto in the background and behold... you're there and can smell the water of the lagune! Now try it yourself!
—Ray Akerboom
For a full review, please see my blog:http://cornishamy.blogspot.com/2011/0...I read this book because I had my honeymoon in Venice, and I am always fascinated to read books set in this wonderful city.This book has a dual timeline split between modern Venice and the Venice of 1733. In modern day Venice, an antique violin and the discovery of a musical manuscript sets in motion a series of events which result in murder. The same violin and manuscript feature in the 1733 timeline, and this storyline unfurls to reveal their tempestuous history.I enjoyed this book, but I found that I was more engaged by the modern day narrative and characters than I was by the 1733 storyline. The two timelines tie together neatly, although I did have a couple of "Oh, for goodness sake" moments at a couple of slightly forced revelations.
—Amy Cockram
