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Thirst: A Novel
Venice, July, 1613: A suspicious drowning in the Lagoon and a deadly assault on a bridge shatter the dreams of Captain Lorenzo Contarini and his fiancée, la Signorina Caterina Zanchi, members of two noble Venetian families. While Caterina's severe injuries banish her from society, her parents remove their other daughter, Leonora, from the convent to become Lorenzo's hasty wife. Lorenzo's investigation into his half-sister's death compels him to accuse his maternal aunt, the Abbess of San Zaccaria, of murder. The ruthless Abbess deflects attention from herself by demonizing Leonora's fellow nun and lover, Suor Serafina, as well as members of her own family. She is ably assisted by the feared and implacable Office of the Inquisition. The subsequent public trial brings together all of Venice and tests familial, religious, sexual, and political alliances. Old secrets are revealed to an avid crowd seeking cruel entertainment, forcing all present to wonder if it is possible to discover the entire truth. At once comforted by the ceaseless lap and sway of the enclosed Lagoon and threatened by the efficient cruelty of the Republic, those whose tale this is live and breathe in an ever-shifting world of bigotry and prejudice. Venice is never quite what it seems.
- GenresHistorical Fiction
272 pages, Paperback
First published February 29, 2012
21 people want to read
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Displaying 1 - 6 of 6 reviews
March 23, 2012
1613. The Republic of Venice has already reached its zenith as a sea-power controlling trade in the eastern Mediterranean. In addition to its commercial pre-eminence La Serenissima (The Most Serene Republic) was an important center of art and music, renowned for architectural landmarks such as St. Mark’s Basilica, the Doge’s palace, the architect Palladio’s churches and palaces lining The Grand Canal, home of great artists like Titian and Tintoretto and the father of Italian opera, Monteverdi.
Set in the twilight of Venice’s Golden Age, “Thirst” opens with preparations for the wedding of Caterina Zanchi and Lorenzo Contarini, an ostensibly happy event uniting two of Venice’s most powerful families. But a sinister undercurrent of deception, violence, and depravity runs beneath the glittering surface, polluting the culture like sewerage emptying into the beautiful and placid Lagoon. That subliminal corruption, hidden beneath a façade of propriety by a society bound by honor and a code of silence, will surface with tragic results.
Returning to Venice following a long voyage, Captain Lorenzo witnesses an act of violence, the drowning of a newborn and its mother in the Lagoon. Moreover, he recognizes the woman as someone close to him and the shocking deed appears to involve representatives of both Church and State. That chance observation leads to an accusation that violates a Code of Silence (omertà) upon which the order and stability of the Honor culture depends. We all sin, and we all have our secrets; the crimes committed to cover those sins in the name of Honor are worse than the sins themselves. Once the authorities are involved, order and the appearance of virtue must be restored—at any cost.
Quid est veritas? What is truth? Appearances are deceiving, and only God sees things as they really are. Moreover, people tend to believe facts that conform to the reality they wish to believe, and ignore facts to the contrary. Paolo Sarpi, an historical figure who makes a brief appearance in “Thirst”, alludes to the limits of human knowledge and perception. This epistemological problem brought to mind Machiavelli’s observation in The Prince: “Everyone sees what you appear to be, few experience what you really are.”
Mary Donnarumma Sharnick has written a gripping narrative that follows the trail of numerous interconnected misdeeds—lies, betrayals, rapes, murders and cover-ups—as they snake through Venice like the intricate network of canals around which the city is built. The characters are three-dimensional and believable, the imagery powerful, the prose polished, the dramatic structure skilful and compelling. Even at the point where the tragic denouement seemed inevitable, the strength of the narrative held my interest. Throughout, I questioned what the title alluded to: Is it a thirst for truth, justice, honor, revenge—or perhaps love? Regardless, I was left with the feeling that this “thirst” might be unquenchable, at least if one solely relies upon material means of refreshment.
“Thirst” is an outstanding historical novel that appeals to the reader at many levels—as a meticulously researched period mystery, a thriller, a romance, and above all, as a psychologically complex novel of ideas and a work of considerable literary merit. Highly recommended.
April 21, 2012
From the first few pages the book sparks the reader's interest in turning the next page without respite. The story moves with precision and clarity in all respects. Every successive paragraph quickens the pace of mystery and the labyrinth of unfolding secrets of lives that are connected by birth, sin, fate, destiny and, of course, Venice. Historical fiction is an appealing genre in that it informs, educates, and entertains. Mary Donnarumma Sharnick demonstrates that her research, knowledge, interests, and excellent writing are perfectly suited to authoring this captivating book of historic fiction. The historical setting comes to life by both authoritative facts and the subtle nuances of the norms, folkways, and values of the period. It is evident that the author truly knows and understands the Venice of 1613 and uses that wisdom to capture the reader as an enthusiastic witness to what was and what might have been. For those reasons, "Thirst" has value for any reader who appreciates a good story. In a deeper sense, for the more discerning reader, Mrs. Sharnick's story presents a philosophical and timeless question regarding truth. The characters and plot of "Thirst" are entwined in the timeless pursuit of truth, but it is like an uncertain voyage impeded by mutinous shipmates. The characters are challenged to assess the value and cost of truth to themselves, society and, ultimately, mankind. In many ways, the book is a parable of man's elusive search for truth's immutable existence for use as a trusted compass in the quest to find moral certitude. The price of that search by any individual can exact a heavy price as we find in "Thirst" as each character must make a fateful choice. The value of truth and the cost of survival is the stark choice. As "Thirst" demonstrates, for most, truth is not only elusive and clouded by perception it also can present a clear and present danger to the fabric of the community and its hierarchy. "Thirst" is a thrilling story of that danger to Venice in 1613, but it could be any city in any age. If you enjoy a good mystery read this book. If you appreciate the challenge of seeking truth's existence and its inherent obligations and dangers, read this book. I hope to see "Thirst" as a movie; and will anxiously anticipate another book from Mrs. Sharnick.
April 25, 2014
(ARC given by Netgalley)
Allow me a slight deviation on the topic of this book. In Portugal, there is this idea that if you're "smart", you can write books well. That's why we have so many books written by teachers, journalists, politicians, etc. that are absolutely unbearable because the person might be smart and an expert in their field, but that doesn't mean they can write. Because, you guessed it, writing is something you need to learn to do. If we don't expect a butcher to be able to perform surgeries, why do we expect journalists to be able to write books?
That rant done, that is the chief problem with this book. This writer, well, can't write. Oh, she tries very hard, that shows, but I remember that one of my earlier thoughts on the book were "This sounds like something written by a history teacher". And when I was done reading it, 'lo and behold, I find that the author is a history major. Yeah. It shows. The only reason this books doesn't get one star less is because, individually, the scenes are very instructive. We learn a LOT about the Venetian society of the time, and if you look at this book not as a book, but a guide to society\era, you actually pick up some interesting things. Unfortunately, that also means that, unlike a lot of books which are more than the sum of its parts, this book -- just isn't.
There isn't a clear protagonist, at least 4 of them, scenes jump back and forth in time and protagonist, so god help you if you don't remember just who that character is and what her\his story is, because it means you might spend half the chapter trying to identify who this is about (especially problematic with the Nuns, because they have different names in their civilian life and as Nuns. And then there is the issue with some of the scenes focusing on lesser, almost nameless characters.
This is the danger of people who follow religiously the "Show don't tell" motto. We get swamped with details that just contribute to confuse you and distract you from the main story. There should be an addendum to this "SDT" motto: only "Show IMPORTANT things that contribute to the story". Knowing that Victoria (whose only role is to make a small testimony in trial) was violated anally when she was younger just comes across as a pointless attempt at being edgy and dark.
The structure is a mess, the main story isn't clear, the "side plots" are many and follow different characters so this book is not particularly pleasant or easy to read. The only recommendation I could do was for people interested in the era, and read this as a series of disconnected scenes portraying the several classes and society of the era in Venice.
I'm still puzzled by the cover blurb that says "Venice will never be the same..." since the conflict is quite small in the grand scheme of things, and the establishment wins in the end, so any changes are quickly smoothed over and forgotten.
Allow me a slight deviation on the topic of this book. In Portugal, there is this idea that if you're "smart", you can write books well. That's why we have so many books written by teachers, journalists, politicians, etc. that are absolutely unbearable because the person might be smart and an expert in their field, but that doesn't mean they can write. Because, you guessed it, writing is something you need to learn to do. If we don't expect a butcher to be able to perform surgeries, why do we expect journalists to be able to write books?
That rant done, that is the chief problem with this book. This writer, well, can't write. Oh, she tries very hard, that shows, but I remember that one of my earlier thoughts on the book were "This sounds like something written by a history teacher". And when I was done reading it, 'lo and behold, I find that the author is a history major. Yeah. It shows. The only reason this books doesn't get one star less is because, individually, the scenes are very instructive. We learn a LOT about the Venetian society of the time, and if you look at this book not as a book, but a guide to society\era, you actually pick up some interesting things. Unfortunately, that also means that, unlike a lot of books which are more than the sum of its parts, this book -- just isn't.
There isn't a clear protagonist, at least 4 of them, scenes jump back and forth in time and protagonist, so god help you if you don't remember just who that character is and what her\his story is, because it means you might spend half the chapter trying to identify who this is about (especially problematic with the Nuns, because they have different names in their civilian life and as Nuns. And then there is the issue with some of the scenes focusing on lesser, almost nameless characters.
This is the danger of people who follow religiously the "Show don't tell" motto. We get swamped with details that just contribute to confuse you and distract you from the main story. There should be an addendum to this "SDT" motto: only "Show IMPORTANT things that contribute to the story". Knowing that Victoria (whose only role is to make a small testimony in trial) was violated anally when she was younger just comes across as a pointless attempt at being edgy and dark.
The structure is a mess, the main story isn't clear, the "side plots" are many and follow different characters so this book is not particularly pleasant or easy to read. The only recommendation I could do was for people interested in the era, and read this as a series of disconnected scenes portraying the several classes and society of the era in Venice.
I'm still puzzled by the cover blurb that says "Venice will never be the same..." since the conflict is quite small in the grand scheme of things, and the establishment wins in the end, so any changes are quickly smoothed over and forgotten.
September 16, 2012
Venice in 1613 can be a brutal place. Captain Lorenzo Contarini witnesses a prime example when he sees a newborn infant deliberately tossed into a canal to drown. The baby’s mother soon joins it in death when she hangs herself.
The son of a nobleman, Contarini is no novice to Venetian politics. He recognizes the Doge’s flag on one of the boats which took the mother and child to their doom. The other boat belongs to the convent overseen by his aunt, the Abbess of San Zaccaria. The unfortunate mother was Contarini’s niece. Contarini knows what he risks, but he reports what he saw. When his fiancée is mutilated during the ghastly murder of a popular artist, is it actually a warning that Captain Contarini should hold his tongue?
Thus begins Thirst, by Mary Donnarumma Sharnick. It is catalogued as historical fiction, romance, and mystery. Of the three categories, it fits historical mystery the best by far. As the early part of Thirst unfolded, I was baffled by leaps from one seemingly unrelated point of view to another. However, it became clear that an intricate mystery was being presented to me, by no less than the Doge’s Inquisition. Contarini’s accusation tests familial, religious, and political loyalties across Venice.
Ms. Sharnick is clearly familiar with the ancient city, and paints a sensuous picture of La Serenissima and her colorful inhabitants. Readers who enjoy figuring out not only whodunit, but why, will love Thirst.
-- Jo Ann Butler
www.rebelpuritan.com/
The son of a nobleman, Contarini is no novice to Venetian politics. He recognizes the Doge’s flag on one of the boats which took the mother and child to their doom. The other boat belongs to the convent overseen by his aunt, the Abbess of San Zaccaria. The unfortunate mother was Contarini’s niece. Contarini knows what he risks, but he reports what he saw. When his fiancée is mutilated during the ghastly murder of a popular artist, is it actually a warning that Captain Contarini should hold his tongue?
Thus begins Thirst, by Mary Donnarumma Sharnick. It is catalogued as historical fiction, romance, and mystery. Of the three categories, it fits historical mystery the best by far. As the early part of Thirst unfolded, I was baffled by leaps from one seemingly unrelated point of view to another. However, it became clear that an intricate mystery was being presented to me, by no less than the Doge’s Inquisition. Contarini’s accusation tests familial, religious, and political loyalties across Venice.
Ms. Sharnick is clearly familiar with the ancient city, and paints a sensuous picture of La Serenissima and her colorful inhabitants. Readers who enjoy figuring out not only whodunit, but why, will love Thirst.
-- Jo Ann Butler
www.rebelpuritan.com/
October 16, 2012
Almost every character in Thirst has a secret (or more than one). Secrets from the past threaten the present, which is not without its own fresher mysteries. Sharnick's characters are genuinely interesting people, with believable lives and personalities. As the author deftly weaves the separate threads of those lives into a single tapestry that pulsates with danger and violence, nothing is obvious, and many things remain hidden until the end.
In some ways the strongest character in Thirst is Venice herself, beautiful and decadent, magical and cruel. It's obvious that the author knows Venice and her history, and she brings it alive in an intensely sensual way. As other reviewers have said, Thirst would make quite a film.
Since the setting is Venice, everything is surrounded by water. It's ironic, then, that all the characters thirst – for something out of reach, something that has been lost, something unattainable. The interactions among characters are never superficial. Two conversations between two pairs of sisters, toward the end of the book, are cases in point: layers upon layers of complexity emerge.
There is a lot of richness in this book. It's by no means a light read, and some of the characters' experiences are quite disturbing (though completely justifiable historically), but it is rewarding.
In some ways the strongest character in Thirst is Venice herself, beautiful and decadent, magical and cruel. It's obvious that the author knows Venice and her history, and she brings it alive in an intensely sensual way. As other reviewers have said, Thirst would make quite a film.
Since the setting is Venice, everything is surrounded by water. It's ironic, then, that all the characters thirst – for something out of reach, something that has been lost, something unattainable. The interactions among characters are never superficial. Two conversations between two pairs of sisters, toward the end of the book, are cases in point: layers upon layers of complexity emerge.
There is a lot of richness in this book. It's by no means a light read, and some of the characters' experiences are quite disturbing (though completely justifiable historically), but it is rewarding.
November 12, 2012
Published by Fireship Press in 2012
Set in 1613 Venice, Thirst: A Novel is a story of family secrets, racial purity, religion and raw power. This is the first novel for the author, Mary Donnarumma Sharnick. As a first novel goes, this one has potential, but also has issues, which is not uncommon.
The scenes throughout the book are very vivid and easy to imagine with fully fleshed out characters (which is usually the hard part for first-time novelists) but there just needs to be more detail to tie the scenes together to make the story flow, more explanation of Venetian society and the way it worked so that the story moves more smoothly and the reader can fully appreciate what everyone is doing, why it matters and the risks that certain characters take when challenging the powers-that-be.
This is a very female oriented work with lots of details about...
Read more at: http://dwdsreviews.blogspot.com/2012/...
Set in 1613 Venice, Thirst: A Novel is a story of family secrets, racial purity, religion and raw power. This is the first novel for the author, Mary Donnarumma Sharnick. As a first novel goes, this one has potential, but also has issues, which is not uncommon.
The scenes throughout the book are very vivid and easy to imagine with fully fleshed out characters (which is usually the hard part for first-time novelists) but there just needs to be more detail to tie the scenes together to make the story flow, more explanation of Venetian society and the way it worked so that the story moves more smoothly and the reader can fully appreciate what everyone is doing, why it matters and the risks that certain characters take when challenging the powers-that-be.
This is a very female oriented work with lots of details about...
Read more at: http://dwdsreviews.blogspot.com/2012/...
Displaying 1 - 6 of 6 reviews