February 10, 2014
Beautifully evocative prose (“A burnt-orange sun dropped, trembling, from behind a bank of cloud, like something being born”) makes this unusual historical novel truly memorable. In 1691, a mysterious artist known as Zummo, or Zumbo, with a taste for the macabre, is summoned to Florence by Cosimo III, the Grand Duke of Tuscany. After viewing a typically grim sample of Zummo’s work, a tableau in wax depicting plague victims in various stages of deterioration (titled The Triumph of Time), Cosimo hires Zummo to craft a realistic-looking, life-sized woman out of wax. The commission rubs Dominican cleric Stufa, the spiritual adviser to Cosimo’s mother, the wrong way. Subsequent court intrigue turns deadly, and, throughout, the reader wonders about the prologue, set in 1701, in which Zummo meets the abbess of a convent in Orléans, Marguerite-Louise, whom he confronts with news of her secret daughter before launching into a flashback to his involvement with the Grand Duke. But the plot twists take a back seat to the complex picture Thomson gives of his oddball protagonist, a man given to wandering around carrying “little theaters filled with...the dead and dying” in the name of art. Agent: Peter Straus, RCW Literary.
February 15, 2014
Thomson (Death of a Murderer, 2007, etc.) takes us to 17th-century Florence, which by definition seems to be full of corrupt politicians, unscrupulous clergy and aspiring artists--and this, of course, long after the Renaissance has ended. We begin with a dialogue between Italian sculptor Gaetano Zummo (called "Zumbo" by the French) and Marguerite-Louise of Orleans, now an abbess at a convent but formerly wife of Cosimo III, the Grand Duke of Tuscany. Zummo's reminiscences take him back some 25 years, though the bulk of the action occurs about 10 years before his meeting with the abbess. He's been summoned by the Grand Duke on an odd commission--the Duke wants Zummo to sculpt the female form, perfect in every detail, from wax. The Duke in part wishes to escape a marriage in which his wife does not try to hide her contempt for him and, particularly, for his failings as a lover. (The Duchess has plenty of experience in this amatory realm and is thus likely a fair judge of her husband's lack of prowess.) In his wanderings around the city, and in his need to experiment with various techniques to produce the desired aesthetic result, Zummo meets Faustina, a lovely Florentine. They quickly become lovers, and Zummo develops a strong desire to protect her, for she's being both pursued and persecuted by an exceptionally cruel and sensual Dominican priest named Stufa, nicknamed, for reasons that become obvious, "Flesh." Through some detective work, Zummo eventually discovers that Faustina is in fact the daughter of the Grand Duchess, but this knowledge does not protect her, and Zummo comes up with a plan to forever rid their lives of Stufa. Thomson succeeds on a number of levels here, for the novel works as a mystery, as a love story, as a historical novel and, more abstractly, as an exploration of aesthetic theory.
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Starred review from February 1, 2014
In 2010, Thomson gave readers a glimpse into his personal life with a heartbreaking memoir, This Party's Got To Stop. No stranger to historical fiction (Air & Fire), he sets his new work in 17th-century Florence, drawing on the life of Gaetano Giulio Zumbo, a Sicilian sculptor granted patronage by the grand duke of Tuscany to create a replica of his wife in wax. Given the cultural climate of Florence and the looming threat of the Roman Inquisition, it is a dangerous commission. In the process of completing the grand duke's order, the novel's protagonist, Gaetano Zummo, falls in love with a local woman with a dark past, runs afoul of a Dominican priest, and uncovers the complicated relationship that links them all together. Through picturesque language, the historical space of Florence becomes an ideological filter through which concepts of power, religion, and identity are interpreted and critiqued. VERDICT A page-turning historical thriller by one of Britain's finest writers; Thomson's lyrical and economical style draws comparisons to George Eliot's Romola.--Joshua Finnell, Denison Univ. Lib., Granville, OH
Copyright 2014 Library Journal, LLC Used with permission.
March 1, 2014
Florence is a dangerous place for freethinkers, lovers, and artists at the end of the seventeenth century. An atmosphere of repression has settled over the region, and people are held in check by religious figures in powerful places. Zummo the wax sculptor has been summoned there by the grand duke, Cosimo III, and after years of wandering, he is pleased with the pay and relative freedom the duke's patronage affords. No stranger to scandal and conspiracy, though, he recognizes the dangers inherent in the duke's secretive commission and in his own burgeoning love for the niece of the apothecary. As the domineering Dominican priest Stufa closes in, Zummo must find a way to release them all from the grip of Florence's darkest powers. Though some anachronistic details occasionally interrupt the realism, Thomson brings Renaissance-era Florence to life with rich descriptions and scenic locales. Readers who have toured Florence will enjoy revisiting the sites in the mind's eye, and historical fiction fans in general will relish the virtual trip brimming with mystery and intrigue.(Reprinted with permission of Booklist, copyright 2014, American Library Association.)