By Donna Leon
Guido Brunetti, the hero of Donna Leon's across the world bestselling crime sequence, is again, in a singular that mixes an inventive plot with an appealing portrait of up to date Venice. On a chilly December evening, a Senegalese guy who sells counterfeit model add-ons is killed at the Campo Santo Stefano. What first seems to be an easy conflict among rival buyers quickly increases questions: What was once a penniless foreigner doing with a fortune in diamonds? And why does Brunetti's boss wish him off the case? enthusiasts of Donna Leon should be extremely joyful with Blood from a Stone, as Brunetti delves into the secrets and techniques of Venice's immigrant group and keeps to discover corruption within the top echelons of the govt..
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Extra info for Blood from a Stone (Commissario Brunetti, Book 14)
It took a lot to ennoble this grim story of rape and murder. Because the story of Mars siring the twins seemed tenuous, someone wisely thought of rooting the new city in another illustrious myth, the Trojan War, somehow transforming Pious Aeneas, son of Venus, into the father of Romulus. Virgil refined this new legend by linking it, during the golden age of Augustus, directly to Homer, and by way of the Iliad gave both himself and his story a grand literary pedigree. There’s a grain of truth in every legend, and in the case of Rome that grain tells us that its beginnings were turbulent, most likely because of its inhabitants’ aggressiveness.
Yet even this spinelessness, this resignation that often turned into indifference, has probably contributed to the fact that so many have experienced Rome as their own home—Belisarius and Totila, the Ostrogoth kings, Theodoric the Barbarian, Charlemagne and Otto the Emperor, Goethe and Montaigne, Dumas and Zola, Stendhal and Gogol, Henry James and Corot, as well as hordes of tourists, pilgrims, and artists. Of all the great cities of antiquity—Niniveh, Babylon, Alexandria, Tyre, Athens, Carthage, Antioch—Rome is the only one that has existed continuously without ever having been reduced to a semi-abandoned village.
For the first time a poet who declared himself a communist sympathizer challenged the leftist political culture by issuing a call for justice that went beyond mere economic disparities. ”1 Pasolini’s “specificity” was his homosexuality and the fact that it caused him, as a Catholic, both guilt and remorse. He asked the left—cried out to it, even—for this new morality. In those years there were things no one spoke of, even if it seems almost unthinkable now. No one talked about gay pride, and homosexuality was an illness, something to be ashamed of, to hide.