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The Venetian Heretic: 'The Master of Historical Fiction' Sunday Times
Venice is alive with the magic and bustle of Carnevale.
A city of mysterious masks and gorgeous palaces, of riches, patricians, intellectuals and artists. And amidst it all, something new is being magnificent voices are soaring above the spires, astonishing costumes are being crafted, and audiences are being transported, for the first time, by the power of the Opera.
And beneath it espionage, organised crime, and murder.
Swordsman Richard Hughes has arrived on the banks of the Grand Canal looking for a simpler life, only to be plunged - alongside Phillip de Chambray, a remarkable woman unable to show her true self - into the thick of the murkiest, most dangerous European politics, at a moment when someone is trying to destroy the opera, and Venice itself.
Rich with authentic detail, this is the story of a complex world not so different from our own, and Christian Cameron, the modern master of historical fiction, brings real history to life in a way no other author can.
A city of mysterious masks and gorgeous palaces, of riches, patricians, intellectuals and artists. And amidst it all, something new is being magnificent voices are soaring above the spires, astonishing costumes are being crafted, and audiences are being transported, for the first time, by the power of the Opera.
And beneath it espionage, organised crime, and murder.
Swordsman Richard Hughes has arrived on the banks of the Grand Canal looking for a simpler life, only to be plunged - alongside Phillip de Chambray, a remarkable woman unable to show her true self - into the thick of the murkiest, most dangerous European politics, at a moment when someone is trying to destroy the opera, and Venice itself.
Rich with authentic detail, this is the story of a complex world not so different from our own, and Christian Cameron, the modern master of historical fiction, brings real history to life in a way no other author can.
400 pages, Hardcover
Published July 22, 2025
117 people are currently reading
276 people want to read
About the author
Christian Cameron
81 books1,099 followersAka Miles Cameron. Also publishes as Gordon Kent with his father Kenneth M. Cameron.
Christian Cameron was born in Pittsburgh, Pennsylvania in 1962. He grew up in Rockport, Massachusetts, Iowa City, Iowa,Christian Cameron and Rochester, New York, where he attended McQuaid Jesuit High School and later graduated from the University of Rochester with a degree in history.
After the longest undergraduate degree on record (1980-87), he joined the United States Navy, where he served as an intelligence officer and as a backseater in S-3 Vikings in the First Gulf War, in Somalia, and elsewhere. After a dozen years of service, he became a full time writer in 2000. He lives in Toronto (that’s Ontario, in Canada) with his wife Sarah and their daughter Beatrice, currently age four. And a half.
Christian Cameron was born in Pittsburgh, Pennsylvania in 1962. He grew up in Rockport, Massachusetts, Iowa City, Iowa,Christian Cameron and Rochester, New York, where he attended McQuaid Jesuit High School and later graduated from the University of Rochester with a degree in history.
After the longest undergraduate degree on record (1980-87), he joined the United States Navy, where he served as an intelligence officer and as a backseater in S-3 Vikings in the First Gulf War, in Somalia, and elsewhere. After a dozen years of service, he became a full time writer in 2000. He lives in Toronto (that’s Ontario, in Canada) with his wife Sarah and their daughter Beatrice, currently age four. And a half.
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Displaying 1 - 30 of 44 reviews
May 14, 2025
Excellent start to a new series - set in Venice in 1651 during the long war for Crete against the Ottomans - the novel is a first person narration from Richard Hughes, once a Cambridge student who took arms for King Charles, lost everything and fled into exile in Europe where he fought as mercenary in the Thirty Year War, was sent to the galleys by the French, captured by the Turks, rescued by Venetians for whom he fought and was rewarded with citizenship and a modest existence as fencing master. Secretly he is also an occasional agent of the state police - mostly through his patron, the high noble Francesco Morosini - who appears as an AI avatar in the author's Arcana Imperii space opera series.
While preferring a peaceful existence, training his students and courting Maria, an inn owner, Richard is unwittingly drawn into intrigue and danger - he is arrested by the Inquisition on a pretext to actually do a job he cannot refuse for them, then saves a young noble Filippo from death at the hand of ruthless assassins only to have to take charge of him, while getting involved in the Culture wars of the time who can prove even more dangerous than the real ones. Filippo has quite a few secrets but a very agile mind and is part of what are called The Libertini, a diverse grouping of hedonists, anti Catholic militants, intellectuals, women with strong personalities who militate for more rights - the anti establishment set in a sense though they are led by Loredan a high ranking aristocrat and member of the ruling Council of Ten.
Unfortunately a ruthless killer in a red mask is running around killing Libertini, putting explosives in theatres where the Libertini operas play and possibly preparing for worse mischief that may even threaten the Republic.
And so it goes with a lot of action and intrigue, many colorful characters including an African bravo and a Cherokee basket maker, former oar mates of Richard whom he employs on occasion, the local gangsters, an Italian lady of many talents married with an exiled (and mostly penniless) English lord, a famous opera singer whom Richard accepts to train to defend herself, an Inquisition captain with a strong ethical sense, a Jewish fencing master whom Richard takes as a partner despite the usual prejudices of the time, a famed courtesan who also needs rescue...
There is also a bit of a Holmes Watson pastiche with Filippo the smart one who deduces things from small clues and Richard the action man...
And of course - the author being Christian Cameron - a little action at sea against the Turks when Richard has to play bodyguard to Morosini who is one of the commanders of the Venetian fleet
The storyline is concluded very well, though a new one is introduced as a sort of epilogue where we even get to meet French envoy Charles de Batz, better known as D'Artagnan...
Overall an excellent story, quite different than the usual military stuff for which the author is deservedly renowned so quite refreshing in many ways.
Highly recommended and The French Ambassador, the announced sequel became a hugely awaited novel as I really want to read more about Richard Hughes and Filippo di Chamberi adventures.
While preferring a peaceful existence, training his students and courting Maria, an inn owner, Richard is unwittingly drawn into intrigue and danger - he is arrested by the Inquisition on a pretext to actually do a job he cannot refuse for them, then saves a young noble Filippo from death at the hand of ruthless assassins only to have to take charge of him, while getting involved in the Culture wars of the time who can prove even more dangerous than the real ones. Filippo has quite a few secrets but a very agile mind and is part of what are called The Libertini, a diverse grouping of hedonists, anti Catholic militants, intellectuals, women with strong personalities who militate for more rights - the anti establishment set in a sense though they are led by Loredan a high ranking aristocrat and member of the ruling Council of Ten.
Unfortunately a ruthless killer in a red mask is running around killing Libertini, putting explosives in theatres where the Libertini operas play and possibly preparing for worse mischief that may even threaten the Republic.
And so it goes with a lot of action and intrigue, many colorful characters including an African bravo and a Cherokee basket maker, former oar mates of Richard whom he employs on occasion, the local gangsters, an Italian lady of many talents married with an exiled (and mostly penniless) English lord, a famous opera singer whom Richard accepts to train to defend herself, an Inquisition captain with a strong ethical sense, a Jewish fencing master whom Richard takes as a partner despite the usual prejudices of the time, a famed courtesan who also needs rescue...
There is also a bit of a Holmes Watson pastiche with Filippo the smart one who deduces things from small clues and Richard the action man...
And of course - the author being Christian Cameron - a little action at sea against the Turks when Richard has to play bodyguard to Morosini who is one of the commanders of the Venetian fleet
The storyline is concluded very well, though a new one is introduced as a sort of epilogue where we even get to meet French envoy Charles de Batz, better known as D'Artagnan...
Overall an excellent story, quite different than the usual military stuff for which the author is deservedly renowned so quite refreshing in many ways.
Highly recommended and The French Ambassador, the announced sequel became a hugely awaited novel as I really want to read more about Richard Hughes and Filippo di Chamberi adventures.
November 17, 2025
This is the best non-SFF traditionally published book I read this year.
I’ve never steeped foot in the famed city of Venice, Italy, which is constructed from a group of more than one hundred islands linked by canals, features more than four hundred bridges, and is one of the world’s most venerated cities. However, I feel as if I’ve been there now, thanks to my reading of the fabulous historical murder-mystery/political thriller, “The Venetian Heretic”, by illustrious author Christian Cameron.
In the novel, Cameron catapults the reader into the exotic 17th century Merchant Republic of Venice, where British fencing teacher and former military man Richard Hughes struggles to sustain himself financially, though his lifestyle expectations are by no means ostentatious. This is a man who has been a galley slave, and seen the depredations of war, so he knows how far one can fall. He’s mostly just happy to be alive, scrape out a livelihood, and enjoy all the beauty and grandeur of the city he now calls home.
The Venice in which Hughes lives conceals a place teeming with political intrigue, scandal, organized crime, and even murder, beneath the façade of colorful marketplaces, stunning architecture, and the courtly manners of an elite cosmopolitan society, obsessed with the opera craze that dominates city life, as much as the city’s renowned waterways.
Hughes tries to live simply, and enjoy the positives that his humble circumstances bring. He has a stalwart and scholarly roommate named Filippo, and an interesting female student, a very talented opera singer, who fascinates him. Overall, things aren’t perfect, there could always be more money, but in general things are going well for him.
But life wasn’t meant, it seems, to be simple for our main character. Hughes can’t avoid being ensnared in the city’s subterfuge.
A libertine professor becomes a victim of foul play. Moreover, none other than the Holy Inquisition is searching for an innkeeper’s wife, who’s disappeared. Is the opera merely glorious theatre, and the seat of Venice’s rich culture, or something more insidious? Hughes seems determined to find the answers to these questions, at great peril to his person.
Fortunately for Hughes, the mysterious Phillip de Chambray, someone hiding their identity, is on his side, as they partner to play detective, trying to unravel the labyrinthine machinations that will take them even beyond the exterior of the Venetian Republic into the heart of privilege and power.
Together they will brave the seedy back-alleys, dangerous enemies including a red-masked malefactor, and navigate a maze of conspiracy to seek the truth, and hopefully not find themselves skewered at the business end of a dagger or sword in the process.
Masterful characterization is one of the benefits of reading any novel by Cameron, irrespective of the sub-genres he’s writing in; his historical fiction is no exception.
Richard Hughes just might be one of favourite historical fiction characters, and Cameron grounds him in the realism that I crave in my protagonists.
He’s a complex man, yet an ordinary man, and at his core, a good man. He’s also an experienced one, who’s already lived an exciting life, and is aware that excitement is not all glamorous. He’s a very able duelist, but not a prodigy. He’s very relatable.
In terms of the detective role he assumes, he’s no Hercule Poirot, Miss Marple, or Philip Marlowe. But he’s clever enough to know what he doesn’t know and figure out what he indeed NEEDS to know.
'''I’m English. We know our wools.'''
Yet Hughes is also a brave man, and we admire him for it. He’s not going to back down, or stick his head in the sand, ignoring the evil around him. He’s going to fight it.
'''I’ve had years to perfect my imbecilic desire to run at things that scare me.'''
I also love that Cameron does not succumb to the common temptation of a writer making their heroes nigh invincible, and the top fighter of their generation, in this kind of book. I find the story is better for it. And because of it, the reader can never bask in the certainty, despite any first-person narrative, that Hughes’ wits (or his swordplay when wits fail) will be sufficient to enable him to make it out alive, and that’s a real authorial skill to accomplish the feeling of dread for the protagonist’s fate when the story is told from the protagonist’s perspective.
You couldn’t ask for a better number two character, who feels more like a co-number one, in Philip de Chambray. Fearless, tough, gritty, intelligent, with a sparkling sense of ironic humour, concealing their true self for reasons, if you like your characters easy to root for, you’ve found them with de Chambray.
The rest of the assembled cast is diverse and compelling. It wouldn’t Venice if it wasn’t replete with gondoliers. Don’t’ worry, Cameron doesn’t neglect them. But there’s plenty to see besides the iconic taxi drivers of the canals, with merchants, machinists, prostitutes, clergy, and more. Yet in the novel, even the most seemingly simple and unassuming common folk can be as secretive and deceptive as any courtier. Cameron keeps us wondering about the motivations concealed behind the carnival masks, and the reader never knows who harbours nefarious intentions until they reveal themselves.
To my absolute giddy delight as a history nerd, we’re also treated to a few appearances of several major historical figures. For one, Charles de Batz de Castelmore D’Artagnan, the real-life figure better known as the basis for THE D’Artagnan, hero of Alexander Dumas’ “The Three Musketeers”. Another, Francisco Cavalli, singer, organist, and composer of more than thirty operas. There are more, but those tidbits should please anyone who loves such cameos in their hist fic.
The prose is excellent, and captures the lofty, cultivated language of the historical period in which the book takes place, while remaining highly readable and accessible for modern tastes.
The setting is, of course, spectacular, but it takes an author whose been there, loves the city, and has superlative descriptive talents, to bring Venice of that era to life. Being a learned writer doesn’t hurt. Cameron is certainly a man of letters, (say nothing of being a man of action) with formal education and training as a historian. (To boot he’s also served in military intelligence officer, with THE NCIS, and the Department of Homeland Security). And he adores Venice, having travelled there numerous times. He knows Venice, AND he knows a lot about the period of Venice he’s writing in.
So, of course, Cameron is just the writer for the job. As I said at the onset of this review, Cameron’s evocative writing makes me feel I that was in the ancient city, walking inside the palazzos, marvelling at the impressive sights of the floating metropolis, while realizing the decay and corruption that lurks underneath, both figuratively and literally.
Which leads me to some of the incredible thematic work. "La Serenissima" means "The Most Serene", in Italian, and that is Venice’s nickname. But in the novel, while on the surface, it’s tranquil in the canals, the government is stable and democratic, and Venice is the envy of the world, with tourists flocking to take in the uniqueness (and of course the parties and the opera), in fact, things have the potential for explosion.
Outside forces want to take over the city, as numerous kingdoms like the Ottomans threaten to swallow Venice whole. Inside, the brewing opera situation, where those sinister inquisitors are bent to stop at nothing to root out and brutally punish so-called apostasy, to maintain the supremacy of Catholic orthodoxy, is a powder keg waiting to blow up. If the sea doesn’t destroy Venice, it might be otherwise destroyed from within, or from without. Cameron conveys this looming sense of dread in the background of the thriller plot, with our heroes caught in the middle, trying to do their small part to keep disaster at bay, and it is wonderfully done.
I’ve said in almost every review of every book I’ve reviewed by Cameron, there’s a list of select few authors, for me, that write actions scenes par excellence, and Cameron is perhaps near the very top of that list. My pantheon of tremendous ancient/fantasy combat scene writers currently includes these seven: Cameron, Wurts, Gwynne, Cornwell, GRR Martin, Erikson, Lawrence.
The duels in this novel will get your heart racing, and for those readers who look for stirring swordfights as a must for your hist fic or fantasy, no important detail of sword fighting that you could possibly be looking for, is left to the imagination. Welcome to reading Christian Cameron.
Are you surprised? I’m not. For those not aware, Cameron is a renowned reenactor and adventurer, who travels the world to help recreate some of history’s most famous battles from the past, from those of ancient Greece to the American Revolution, and everything in between. With his active role in the armoured fighting community worldwide, and more than four decades as a weapons and fencing expert, this is the person you want writing your historical fantasy for authenticity and gravitas. That is what you get in “The Venetian Heretic.”
Cameron is one of most brilliant and multifaceted authors I’ve ever had the privilege of reading. Be the backdrop outer space, the Renaissance, or a made-up medieval-type fantasy secondary world, Cameron will ensure you’re totally immersed and enthralled. Such is the case with “The Venetian Heretic”. It is must-read historical fiction, spun by a master of the craft.
5 sparkling stars out of 5 rating.
I’ve never steeped foot in the famed city of Venice, Italy, which is constructed from a group of more than one hundred islands linked by canals, features more than four hundred bridges, and is one of the world’s most venerated cities. However, I feel as if I’ve been there now, thanks to my reading of the fabulous historical murder-mystery/political thriller, “The Venetian Heretic”, by illustrious author Christian Cameron.
In the novel, Cameron catapults the reader into the exotic 17th century Merchant Republic of Venice, where British fencing teacher and former military man Richard Hughes struggles to sustain himself financially, though his lifestyle expectations are by no means ostentatious. This is a man who has been a galley slave, and seen the depredations of war, so he knows how far one can fall. He’s mostly just happy to be alive, scrape out a livelihood, and enjoy all the beauty and grandeur of the city he now calls home.
The Venice in which Hughes lives conceals a place teeming with political intrigue, scandal, organized crime, and even murder, beneath the façade of colorful marketplaces, stunning architecture, and the courtly manners of an elite cosmopolitan society, obsessed with the opera craze that dominates city life, as much as the city’s renowned waterways.
Hughes tries to live simply, and enjoy the positives that his humble circumstances bring. He has a stalwart and scholarly roommate named Filippo, and an interesting female student, a very talented opera singer, who fascinates him. Overall, things aren’t perfect, there could always be more money, but in general things are going well for him.
But life wasn’t meant, it seems, to be simple for our main character. Hughes can’t avoid being ensnared in the city’s subterfuge.
A libertine professor becomes a victim of foul play. Moreover, none other than the Holy Inquisition is searching for an innkeeper’s wife, who’s disappeared. Is the opera merely glorious theatre, and the seat of Venice’s rich culture, or something more insidious? Hughes seems determined to find the answers to these questions, at great peril to his person.
Fortunately for Hughes, the mysterious Phillip de Chambray, someone hiding their identity, is on his side, as they partner to play detective, trying to unravel the labyrinthine machinations that will take them even beyond the exterior of the Venetian Republic into the heart of privilege and power.
Together they will brave the seedy back-alleys, dangerous enemies including a red-masked malefactor, and navigate a maze of conspiracy to seek the truth, and hopefully not find themselves skewered at the business end of a dagger or sword in the process.
Masterful characterization is one of the benefits of reading any novel by Cameron, irrespective of the sub-genres he’s writing in; his historical fiction is no exception.
Richard Hughes just might be one of favourite historical fiction characters, and Cameron grounds him in the realism that I crave in my protagonists.
He’s a complex man, yet an ordinary man, and at his core, a good man. He’s also an experienced one, who’s already lived an exciting life, and is aware that excitement is not all glamorous. He’s a very able duelist, but not a prodigy. He’s very relatable.
In terms of the detective role he assumes, he’s no Hercule Poirot, Miss Marple, or Philip Marlowe. But he’s clever enough to know what he doesn’t know and figure out what he indeed NEEDS to know.
'''I’m English. We know our wools.'''
Yet Hughes is also a brave man, and we admire him for it. He’s not going to back down, or stick his head in the sand, ignoring the evil around him. He’s going to fight it.
'''I’ve had years to perfect my imbecilic desire to run at things that scare me.'''
I also love that Cameron does not succumb to the common temptation of a writer making their heroes nigh invincible, and the top fighter of their generation, in this kind of book. I find the story is better for it. And because of it, the reader can never bask in the certainty, despite any first-person narrative, that Hughes’ wits (or his swordplay when wits fail) will be sufficient to enable him to make it out alive, and that’s a real authorial skill to accomplish the feeling of dread for the protagonist’s fate when the story is told from the protagonist’s perspective.
You couldn’t ask for a better number two character, who feels more like a co-number one, in Philip de Chambray. Fearless, tough, gritty, intelligent, with a sparkling sense of ironic humour, concealing their true self for reasons, if you like your characters easy to root for, you’ve found them with de Chambray.
The rest of the assembled cast is diverse and compelling. It wouldn’t Venice if it wasn’t replete with gondoliers. Don’t’ worry, Cameron doesn’t neglect them. But there’s plenty to see besides the iconic taxi drivers of the canals, with merchants, machinists, prostitutes, clergy, and more. Yet in the novel, even the most seemingly simple and unassuming common folk can be as secretive and deceptive as any courtier. Cameron keeps us wondering about the motivations concealed behind the carnival masks, and the reader never knows who harbours nefarious intentions until they reveal themselves.
To my absolute giddy delight as a history nerd, we’re also treated to a few appearances of several major historical figures. For one, Charles de Batz de Castelmore D’Artagnan, the real-life figure better known as the basis for THE D’Artagnan, hero of Alexander Dumas’ “The Three Musketeers”. Another, Francisco Cavalli, singer, organist, and composer of more than thirty operas. There are more, but those tidbits should please anyone who loves such cameos in their hist fic.
The prose is excellent, and captures the lofty, cultivated language of the historical period in which the book takes place, while remaining highly readable and accessible for modern tastes.
The setting is, of course, spectacular, but it takes an author whose been there, loves the city, and has superlative descriptive talents, to bring Venice of that era to life. Being a learned writer doesn’t hurt. Cameron is certainly a man of letters, (say nothing of being a man of action) with formal education and training as a historian. (To boot he’s also served in military intelligence officer, with THE NCIS, and the Department of Homeland Security). And he adores Venice, having travelled there numerous times. He knows Venice, AND he knows a lot about the period of Venice he’s writing in.
So, of course, Cameron is just the writer for the job. As I said at the onset of this review, Cameron’s evocative writing makes me feel I that was in the ancient city, walking inside the palazzos, marvelling at the impressive sights of the floating metropolis, while realizing the decay and corruption that lurks underneath, both figuratively and literally.
Which leads me to some of the incredible thematic work. "La Serenissima" means "The Most Serene", in Italian, and that is Venice’s nickname. But in the novel, while on the surface, it’s tranquil in the canals, the government is stable and democratic, and Venice is the envy of the world, with tourists flocking to take in the uniqueness (and of course the parties and the opera), in fact, things have the potential for explosion.
Outside forces want to take over the city, as numerous kingdoms like the Ottomans threaten to swallow Venice whole. Inside, the brewing opera situation, where those sinister inquisitors are bent to stop at nothing to root out and brutally punish so-called apostasy, to maintain the supremacy of Catholic orthodoxy, is a powder keg waiting to blow up. If the sea doesn’t destroy Venice, it might be otherwise destroyed from within, or from without. Cameron conveys this looming sense of dread in the background of the thriller plot, with our heroes caught in the middle, trying to do their small part to keep disaster at bay, and it is wonderfully done.
I’ve said in almost every review of every book I’ve reviewed by Cameron, there’s a list of select few authors, for me, that write actions scenes par excellence, and Cameron is perhaps near the very top of that list. My pantheon of tremendous ancient/fantasy combat scene writers currently includes these seven: Cameron, Wurts, Gwynne, Cornwell, GRR Martin, Erikson, Lawrence.
The duels in this novel will get your heart racing, and for those readers who look for stirring swordfights as a must for your hist fic or fantasy, no important detail of sword fighting that you could possibly be looking for, is left to the imagination. Welcome to reading Christian Cameron.
Are you surprised? I’m not. For those not aware, Cameron is a renowned reenactor and adventurer, who travels the world to help recreate some of history’s most famous battles from the past, from those of ancient Greece to the American Revolution, and everything in between. With his active role in the armoured fighting community worldwide, and more than four decades as a weapons and fencing expert, this is the person you want writing your historical fantasy for authenticity and gravitas. That is what you get in “The Venetian Heretic.”
Cameron is one of most brilliant and multifaceted authors I’ve ever had the privilege of reading. Be the backdrop outer space, the Renaissance, or a made-up medieval-type fantasy secondary world, Cameron will ensure you’re totally immersed and enthralled. Such is the case with “The Venetian Heretic”. It is must-read historical fiction, spun by a master of the craft.
5 sparkling stars out of 5 rating.
November 27, 2025
4.5 stars. I want to go to Venice.
May 4, 2025
4.75⭐️
This book was fantastic, this is the first work I have come across set in 17th Century Venice and I really hope its not the last (especially seeing as at the end its says the adventures will continue).
Dark alleys, daggers, dancing, dangerous happenings and people, religious, political and cultural intriuge with a rougish Englishman in Venice, gandolas and the opera. If that doesnt sell it to you I really dont know what will.
The characters were fleshed out and felt real (in some cases they were), I loved Riccardo and cannot wait to see his further shenanigans. The real beauty was in the interactions between the characters and the dialogue for me, Filippo and Uze especially. The setting was a joy, it brought back many great memories of places I have seen on a long ago holiday with my now wife, it captured the feeling of trying to get around the maze that is Venice and how chases would go. The story itself really sucked me in straight from the start and kept hold of me by the lace collar right the way through.
Cameron is very quickly becoming a favourite author of mine, there is something about the way he writes, the action, the character work and humour that appeal to me in that rare way, when you feel like the book was written for you.
“I turned my head and met Montorio’s eye, and he was trying not to look at me. I think the picture of the English heretic threatening a Catholic abbess with the inquisition was too much for him, and he was going to laugh aloud.”
This book was fantastic, this is the first work I have come across set in 17th Century Venice and I really hope its not the last (especially seeing as at the end its says the adventures will continue).
Dark alleys, daggers, dancing, dangerous happenings and people, religious, political and cultural intriuge with a rougish Englishman in Venice, gandolas and the opera. If that doesnt sell it to you I really dont know what will.
The characters were fleshed out and felt real (in some cases they were), I loved Riccardo and cannot wait to see his further shenanigans. The real beauty was in the interactions between the characters and the dialogue for me, Filippo and Uze especially. The setting was a joy, it brought back many great memories of places I have seen on a long ago holiday with my now wife, it captured the feeling of trying to get around the maze that is Venice and how chases would go. The story itself really sucked me in straight from the start and kept hold of me by the lace collar right the way through.
Cameron is very quickly becoming a favourite author of mine, there is something about the way he writes, the action, the character work and humour that appeal to me in that rare way, when you feel like the book was written for you.
“I turned my head and met Montorio’s eye, and he was trying not to look at me. I think the picture of the English heretic threatening a Catholic abbess with the inquisition was too much for him, and he was going to laugh aloud.”
May 18, 2025
The reader will be transported to the 1650s Venice with all its complexities and canals. The novel is told thru the eyes of Richard Hughes, a Protestant Englishman. The religious wars of the 17th century are on display as Richard moves about Venice. A professor is murdered and Richard is drawn into the mystery. As a ex-soldier and a teacher of the sword, Richard is known to the power players in Venice.
Nice thing about a Christian Cameron series is learn learn all sorts of things, from how the Opera House works to the religious conflicts of the age. First in the series, the next installment promise more in the adventures of Richard Hughes.
Nice thing about a Christian Cameron series is learn learn all sorts of things, from how the Opera House works to the religious conflicts of the age. First in the series, the next installment promise more in the adventures of Richard Hughes.
December 18, 2025
This review was originally posted on Queen's Book Asylum.
Actual rating: 3.5👑
A bit of housekeeping before I get to the actual review. The Venetian Heretic is the first book I've read from Christian Cameron, despite knowing him for a few years now. There are various reasons for this, one of which is that reading (and possibly reviewing) a book by a person I admire can be a very slippery slope. Especially with my tendency to write reviews on the critical side. Another reason is that I know his work tends to be focused on military themes, which is not my cup of tea, as neither is epic fantasy or sci-fi... So I didn't want my first book from him to be something I thought I might not like. Even if I never reviewed it or told anyone I've read it. I would know. And it would make me feel bad. And I don't like feeling bad, thank you very much. The Venetian Heretic, on the other hand, sounded like something I would absolutely pick up without knowing anything about the author. Historical Fiction? Check. Mystery? Check. Set in Venice? Great, I'm really into the Cesare Aldo series by D. V. Bishop (which is set in Florence, and a bit over 100 years earlier, but still), and hey, this could tide me over while I'm waiting for the next book. Fun fact, the 5th Cesare Aldo book was mostly set in Venice, so this was just that kind of year, I guess, lol. I even visited Florence for my birthday! But I digress, as Richard Hughes likes to do, so let's move on.
It took me quite a while to read this book, but not because I didn't enjoy it; it's just a mix of being occupied with other things and a slight reading slump - excellent timing, thanks for nothing, brain, as usual. That, and despite liking the story, I was never fully invested in it to a point where I couldn't wait to pick up the book again. That said, I read the last 150 pages within two days. I was thinking a lot about the whys as I was reading the last 50ish pages. Was it the writing? Sure, Cameron's writing style in this book is a bit more wordy than I'd prefer myself, but that wasn't it. Was it the setting? I mean, Venice is Venice, so no. Although, to be honest, I was expecting something different in a way. But we'll come back to this.
How about the mystery then? Mystery is a hard genre to write in. The Venetian Heretic's main plot starts with a kidnapping case that turns into a political nightmare for all involved, including several murder cases, assassination attempts, and attacks against opera houses. I think the mystery plotline worked well enough, and I enjoyed all the political intrigue that came with it, involving the Ten governing Venice, the libertini (free thinkers, basically, some of whom have very real political ambitions), and the Catholic Church represented by the Venetian office of the Inquisition. This is a delicious setting for some good stuff. So, not quite this then. Which brings us to the characters.
Richard Hughes, or Riccardo Uze, as the Venetians call him, is an Englishman, a heretic at that, as he is a Protestant, who gives fencing classes. He used to serve as a galley slave until he was saved by a Venetian patrician who became his patron. He is the narrator of the story, as he finds himself right in the middle of these political forces, sort of by chance. He is by no means an investigator, most of the time he doesn't even know what he is doing, which I guess could be amusing in a way, but I'm not sure The Venetian Heretic was written with amusement in mind, per se. I know there is a whole subgenre within the Mystery genre with amateur sleuths solving murder cases and whatnot, but I always preferred to have an MC with actual knowledge about how these things are done, rather than bumbling around with no clue and more intelligent side characters solving a lot of the puzzles for them. Then again, everyone has to start somewhere. Even so, a few times I was not sure how he actually got to some conclusions, such as Filippo's identity.
Personal preferences aside, my main issue with Hughes was that I never found a connection with him on a personal or emotional level. Especially since The Venetian Heretic is written in first person. I was kind of lacking emotions in general, or rather, the showing of emotions, as we are told how he feels in certain situations, but he never shows them. We never really get to know him as a person - and sure, we do get some of his characteristics, but not much on a personal level. Honestly, I'm not even sure if I liked him or not. Nor any of the characters, really. Nothing wrong with them, it's just something was missing for me, that's hard to explain. Like I, as a reader, was kept at a distance at all times, and I just couldn't quite get close to them. Which, let me tell you, is frustrating as fuck.
However, it has to be said that Cameron's strength lies in bringing history to life through a clearly extensive research that went into The Venetian Heretic. His love for the whole process shines through the pages, starting with the places, the settings, to the people, and the details such as the clothing and, of course, the weapons. 17th-century Venice comes to life, and I enjoyed being immersed in that world. Mind you, I have a thing for history myself, so there you go. But, as I mentioned somewhere at the beginning of this review/essay, I think I was expecting something else from the plot. I'm not sure why, but I envisioned that the setting would be focused more on the opera itself than it actually was. I mean, I thought it would involve the daily life of a troupe, with intrigue, murder, and all the fun stuff, and in a way it did. Hughes is eventually asked to keep one of the opera buildings safe so they could rehearse an upcoming piece that's in the middle of all the political mess. And yes, Hughes does interact with some opera singers, and the opera itself, and it does get its spotlight within the story, but I wanted a deep dive, I think. It's true that there were quite a few plotlines that needed to merge seamlessly, which did happen, but again, I just had a feeling of missing something. I know I'm being super vague, but I can't really explain it well. Maybe it's just that I really wanted to love this book, and I didn't, and I'm just disappointed in myself.
I probably could go on talking about this book in more detail, but I think this review has already gotten too long. The Venetian Heretic transports the reader into a tumultuous period in Venice's history, full of intrigue, crime, culture, and war. And the fairly wide cast of characters have to deal with a lot of them, often at once. Will I be back for more? With the introduction of a character from one of my favorite books of my childhood at the very end, you can bet I will.
If you like your historical fiction with a dash of mystery, then you can't go wrong with The Venetian Heretic. Come and find out which side you want to serve - the state, the church, or the libertini? The choice is yours. But choose wisely.
Actual rating: 3.5👑
A bit of housekeeping before I get to the actual review. The Venetian Heretic is the first book I've read from Christian Cameron, despite knowing him for a few years now. There are various reasons for this, one of which is that reading (and possibly reviewing) a book by a person I admire can be a very slippery slope. Especially with my tendency to write reviews on the critical side. Another reason is that I know his work tends to be focused on military themes, which is not my cup of tea, as neither is epic fantasy or sci-fi... So I didn't want my first book from him to be something I thought I might not like. Even if I never reviewed it or told anyone I've read it. I would know. And it would make me feel bad. And I don't like feeling bad, thank you very much. The Venetian Heretic, on the other hand, sounded like something I would absolutely pick up without knowing anything about the author. Historical Fiction? Check. Mystery? Check. Set in Venice? Great, I'm really into the Cesare Aldo series by D. V. Bishop (which is set in Florence, and a bit over 100 years earlier, but still), and hey, this could tide me over while I'm waiting for the next book. Fun fact, the 5th Cesare Aldo book was mostly set in Venice, so this was just that kind of year, I guess, lol. I even visited Florence for my birthday! But I digress, as Richard Hughes likes to do, so let's move on.
It took me quite a while to read this book, but not because I didn't enjoy it; it's just a mix of being occupied with other things and a slight reading slump - excellent timing, thanks for nothing, brain, as usual. That, and despite liking the story, I was never fully invested in it to a point where I couldn't wait to pick up the book again. That said, I read the last 150 pages within two days. I was thinking a lot about the whys as I was reading the last 50ish pages. Was it the writing? Sure, Cameron's writing style in this book is a bit more wordy than I'd prefer myself, but that wasn't it. Was it the setting? I mean, Venice is Venice, so no. Although, to be honest, I was expecting something different in a way. But we'll come back to this.
How about the mystery then? Mystery is a hard genre to write in. The Venetian Heretic's main plot starts with a kidnapping case that turns into a political nightmare for all involved, including several murder cases, assassination attempts, and attacks against opera houses. I think the mystery plotline worked well enough, and I enjoyed all the political intrigue that came with it, involving the Ten governing Venice, the libertini (free thinkers, basically, some of whom have very real political ambitions), and the Catholic Church represented by the Venetian office of the Inquisition. This is a delicious setting for some good stuff. So, not quite this then. Which brings us to the characters.
Richard Hughes, or Riccardo Uze, as the Venetians call him, is an Englishman, a heretic at that, as he is a Protestant, who gives fencing classes. He used to serve as a galley slave until he was saved by a Venetian patrician who became his patron. He is the narrator of the story, as he finds himself right in the middle of these political forces, sort of by chance. He is by no means an investigator, most of the time he doesn't even know what he is doing, which I guess could be amusing in a way, but I'm not sure The Venetian Heretic was written with amusement in mind, per se. I know there is a whole subgenre within the Mystery genre with amateur sleuths solving murder cases and whatnot, but I always preferred to have an MC with actual knowledge about how these things are done, rather than bumbling around with no clue and more intelligent side characters solving a lot of the puzzles for them. Then again, everyone has to start somewhere. Even so, a few times I was not sure how he actually got to some conclusions, such as Filippo's identity.
Personal preferences aside, my main issue with Hughes was that I never found a connection with him on a personal or emotional level. Especially since The Venetian Heretic is written in first person. I was kind of lacking emotions in general, or rather, the showing of emotions, as we are told how he feels in certain situations, but he never shows them. We never really get to know him as a person - and sure, we do get some of his characteristics, but not much on a personal level. Honestly, I'm not even sure if I liked him or not. Nor any of the characters, really. Nothing wrong with them, it's just something was missing for me, that's hard to explain. Like I, as a reader, was kept at a distance at all times, and I just couldn't quite get close to them. Which, let me tell you, is frustrating as fuck.
However, it has to be said that Cameron's strength lies in bringing history to life through a clearly extensive research that went into The Venetian Heretic. His love for the whole process shines through the pages, starting with the places, the settings, to the people, and the details such as the clothing and, of course, the weapons. 17th-century Venice comes to life, and I enjoyed being immersed in that world. Mind you, I have a thing for history myself, so there you go. But, as I mentioned somewhere at the beginning of this review/essay, I think I was expecting something else from the plot. I'm not sure why, but I envisioned that the setting would be focused more on the opera itself than it actually was. I mean, I thought it would involve the daily life of a troupe, with intrigue, murder, and all the fun stuff, and in a way it did. Hughes is eventually asked to keep one of the opera buildings safe so they could rehearse an upcoming piece that's in the middle of all the political mess. And yes, Hughes does interact with some opera singers, and the opera itself, and it does get its spotlight within the story, but I wanted a deep dive, I think. It's true that there were quite a few plotlines that needed to merge seamlessly, which did happen, but again, I just had a feeling of missing something. I know I'm being super vague, but I can't really explain it well. Maybe it's just that I really wanted to love this book, and I didn't, and I'm just disappointed in myself.
I probably could go on talking about this book in more detail, but I think this review has already gotten too long. The Venetian Heretic transports the reader into a tumultuous period in Venice's history, full of intrigue, crime, culture, and war. And the fairly wide cast of characters have to deal with a lot of them, often at once. Will I be back for more? With the introduction of a character from one of my favorite books of my childhood at the very end, you can bet I will.
If you like your historical fiction with a dash of mystery, then you can't go wrong with The Venetian Heretic. Come and find out which side you want to serve - the state, the church, or the libertini? The choice is yours. But choose wisely.
May 26, 2025
Cameron rarely fails to deliver. Always an instant buy. 4.5⭐️
June 12, 2025
*copy from Netgalley in exchange for a review*
The Venetian Heretic is the start of a new historical fiction series from the impressively prolific Christian Cameron, whose excellent sci-fi and fantasy work I’ve spoken about here before. Amusingly, at one point I suggested his Deep Black was reminiscent of 16th century Venice, - and here we are, a year or so later, looking at another of his stories, set in, well, 17th century Venice. What’s a hundred years between us, eh? In any event, this story begins with professional swordsman Richard Hughes, whose chance rescue of someone in trouble on the canal-lined streets of Venice leads quickly to mystery, murder, and mayhem. Well, and duelling, conspiracy, and murder. And, well, some theater. Hughes is paddling in the edges of deep water, and inclined perhaps to get more than a little wet.
Hughes is the central character, but if I’m honest, the most vividly realised one is Venice herself, the Italian city on the lagoon, at a time when she was less tourist trap, and more incipient global power.The marble bridges over dark waters are described in vivid detail, and the politics that embraces everyone, from the nobility to the gondoleers, twines through the water and the soaring buildings towering beside them. It’s a city of ideas, and of brutal realities, where blood is spilled as quickly as a breath, and where art, where opera is as important as swordplay, and sometimes just as deadly. The prose is rich and affectionate, and brings the city to life, with a warmth, a depth and an energy that is impossible to deny. Cameron’s Venice has a sense of place, of history, and feels at once grand and intimately human.
Onto that stage, no pun intended, steps Richard Hughes - duelist, occasional Englishman, a man who would, on the whole, rather not go swimming in uncomfortably deep waters - metaphorical or otherwise. But he’s also thoughtful, intelligent, passionate, and loyal to his friends and his own sense of honour. Which makes for a likeable protagonist, and one whose penchant for getting into bigger and bigger trouble, following the ripples of larger and larger events to see where they lead, is extremely compelling reading. Hughes is a small fish in the great sea of state, passing on information where he can to help his friends or himself survive on the edges of Society, but he’s also someone striving to do better, to be a version of themselves they can look up to in the mirror. Hughes is a businessman, yes, a killer, absolutely, but one with a code, with ethics, with virtues. Whether fHughes is a good man is definitely open to question as the story opens, but as the web of influence, murder and politics grows ever more byzantine, his bravery, loyalty and firm friendships become ever more important.. He’s a charming, funny protagonist, whose bouts of pragmatic cynicism are backed by moments of genuine heroism, one whose flaws highlight his virtues, and whose skills with a blade are backed up by a thoughtful investigative mind.Just as well, since he spend smooch of the story being a (variably willing) detective of sorts. In this, he’s aided by a rich cast of men and women who never feel less than real themselves. SOme of them are historical figures, others…less so, but they all have enough detail, enough depth, enough truth in them to be compelling in their own right.
Speaking of detective work - well, this story is a mystery at heart, I think. With murder and mystery at the centre of the narrative, there’s more twists and turns here than , well, between the canals of Venice itself. There’s duels, and opera, and assassins, and religion (and the Inquisition). There’s a dash of romance, and more than one dark moment on dark nights. There’s explosions and politics and passion and more than a little family drama. This is a story with, well, layers. It rewards careful reading, and it is also bloody difficult to stop reading once you get started. I had a great time with Hughes and his Venice, and I suspect you will too. Give it a whirl!
The Venetian Heretic is the start of a new historical fiction series from the impressively prolific Christian Cameron, whose excellent sci-fi and fantasy work I’ve spoken about here before. Amusingly, at one point I suggested his Deep Black was reminiscent of 16th century Venice, - and here we are, a year or so later, looking at another of his stories, set in, well, 17th century Venice. What’s a hundred years between us, eh? In any event, this story begins with professional swordsman Richard Hughes, whose chance rescue of someone in trouble on the canal-lined streets of Venice leads quickly to mystery, murder, and mayhem. Well, and duelling, conspiracy, and murder. And, well, some theater. Hughes is paddling in the edges of deep water, and inclined perhaps to get more than a little wet.
Hughes is the central character, but if I’m honest, the most vividly realised one is Venice herself, the Italian city on the lagoon, at a time when she was less tourist trap, and more incipient global power.The marble bridges over dark waters are described in vivid detail, and the politics that embraces everyone, from the nobility to the gondoleers, twines through the water and the soaring buildings towering beside them. It’s a city of ideas, and of brutal realities, where blood is spilled as quickly as a breath, and where art, where opera is as important as swordplay, and sometimes just as deadly. The prose is rich and affectionate, and brings the city to life, with a warmth, a depth and an energy that is impossible to deny. Cameron’s Venice has a sense of place, of history, and feels at once grand and intimately human.
Onto that stage, no pun intended, steps Richard Hughes - duelist, occasional Englishman, a man who would, on the whole, rather not go swimming in uncomfortably deep waters - metaphorical or otherwise. But he’s also thoughtful, intelligent, passionate, and loyal to his friends and his own sense of honour. Which makes for a likeable protagonist, and one whose penchant for getting into bigger and bigger trouble, following the ripples of larger and larger events to see where they lead, is extremely compelling reading. Hughes is a small fish in the great sea of state, passing on information where he can to help his friends or himself survive on the edges of Society, but he’s also someone striving to do better, to be a version of themselves they can look up to in the mirror. Hughes is a businessman, yes, a killer, absolutely, but one with a code, with ethics, with virtues. Whether fHughes is a good man is definitely open to question as the story opens, but as the web of influence, murder and politics grows ever more byzantine, his bravery, loyalty and firm friendships become ever more important.. He’s a charming, funny protagonist, whose bouts of pragmatic cynicism are backed by moments of genuine heroism, one whose flaws highlight his virtues, and whose skills with a blade are backed up by a thoughtful investigative mind.Just as well, since he spend smooch of the story being a (variably willing) detective of sorts. In this, he’s aided by a rich cast of men and women who never feel less than real themselves. SOme of them are historical figures, others…less so, but they all have enough detail, enough depth, enough truth in them to be compelling in their own right.
Speaking of detective work - well, this story is a mystery at heart, I think. With murder and mystery at the centre of the narrative, there’s more twists and turns here than , well, between the canals of Venice itself. There’s duels, and opera, and assassins, and religion (and the Inquisition). There’s a dash of romance, and more than one dark moment on dark nights. There’s explosions and politics and passion and more than a little family drama. This is a story with, well, layers. It rewards careful reading, and it is also bloody difficult to stop reading once you get started. I had a great time with Hughes and his Venice, and I suspect you will too. Give it a whirl!
May 23, 2025
I love everything I have read by Cristian Cameron or his alter ego Miles Cameron, particularly his Chivalry series. So, I was already predisposed to enjoy this novel. However, this story surprised me and this book just leapt to the top of my list of favorite works by him.
Occasionally, when Mr. Cameron is writing a historical fiction novel, the story is driven more by the upcoming historical battles and the minutiae of weapons, armor and combat. That is not a criticism as I enjoy that type of story, but this novel is different. This is an engaging political/religious, crime mystery set in the backdrop of Venice in the 1650s. Sure there is still a war and a battle, but they are part of the story background and not its focus. What drives this story is the characters and the well-conceived plot. Plus, in general I love Venice and its history and found the attention to the details of the historical City, its politics, and its daily life enthralling.
But the highest compliment I can give is that this novel reads like an Alexander Dumas story. Alexander Dumas is my all-time favorite author and The Count of Monte Cristo my favorite book. This novel reminds me of that Dumas style of writing. Not in its use of language such as Steven Brust uses in his Phoenix Guard novels, but in terms of style, story, pacing and intrigue. I thought that was Mr. Cameron's intent as I read through the book and having finished it, I'm now convinced. Bravo Mr. Cameron! I cannot wait for the next one.
Occasionally, when Mr. Cameron is writing a historical fiction novel, the story is driven more by the upcoming historical battles and the minutiae of weapons, armor and combat. That is not a criticism as I enjoy that type of story, but this novel is different. This is an engaging political/religious, crime mystery set in the backdrop of Venice in the 1650s. Sure there is still a war and a battle, but they are part of the story background and not its focus. What drives this story is the characters and the well-conceived plot. Plus, in general I love Venice and its history and found the attention to the details of the historical City, its politics, and its daily life enthralling.
But the highest compliment I can give is that this novel reads like an Alexander Dumas story. Alexander Dumas is my all-time favorite author and The Count of Monte Cristo my favorite book. This novel reminds me of that Dumas style of writing. Not in its use of language such as Steven Brust uses in his Phoenix Guard novels, but in terms of style, story, pacing and intrigue. I thought that was Mr. Cameron's intent as I read through the book and having finished it, I'm now convinced. Bravo Mr. Cameron! I cannot wait for the next one.
May 3, 2025
Absolutely brilliant novel, made deep and real by a massive amount of research, but Cameron's ability to create plausible and interesting characters shines through. Lots of twists and mysteries. Cameron is a historical reenactor, and his knowledge of period weapons and the science of their use makes the descriptions of combat very real. I loved the main characters and was overjoyed to learn that they will be back. Soon, Mr Cameron, please!
April 17, 2025
8.5 / 10 ✪
https://arefugefromlife.wordpress.com...
The city of masques and riches, of Carnevale and canals, Venezia is the most picturesque of all the merchant republics. But beneath its surface, the city is constantly on the brink; blackmarkets, gangs, spy networks pulling it one way and the next. An occasional ally of Roma, Venezia is a mishmash of protestants, catholics, heretics—though far preferable to the infidel Turks. Still, there are those in the Papal See that would rather see the city burned than turned to a vassal state. Venezia itself wants neither. Its people are free and stubborn, independent, and used to it.
Richard Hughes is one of them. An Englishman born, he was reborn in Venezia after being freed from slavery. Now, he teaches the sword to those that would learn it, aided by his few friends and shadowy patron. Though no stranger to the gaols of the state, when he is taken by the Inquisition, his days may be numbered.
And yet, they only want to chat—and hire Hughes for a job. One simple task that will plunge him into the midst of a political matter far too complex for his liking. Venezia may be the city of Carnevale, but the season is over, and there are precious few masques left. But one still remains—and it’s this one that concerns Hughes. For the man wearing it is dead-set on painting the city red, one body at a time.
—
What a setting! The Venetian Heretic takes us to the canals and back alleys of Venice, during one of the most fascinating periods of its history. Merchant Republic Venezia. Even now, Venice is one of the most romanticized places on earth: a veritable Mecca for tourists hoping to see the city before the ocean reclaims it. But back then, when the city was its own master? After all, how can one city stay independent for so long? It would take a complex web of politics and crime and gold to keep the city afloat, much less from being subsumed by any number of empires on its doorstep.
But, setting aside, it’s quite an immersive story. I was instantly swept away by Hughes, who—while he’s maybe not the best narrator ever—was relatable in so many other ways. A former galley slave, he’s been through hardship. He’s lived more than one life, and reinvented himself in Venice. Where… he pretty much keeps his head down and attempts to eke out a living. He’s a bit thick—no Sherlockian metaphysical calculus here—and that’s even better. Quite refreshing from a lead not to have solved the plot after seeing two or three random clues. Not the greatest warrior, but he gets by. He’s no Arimnestos of Plataea, blessed by Ares. The best comparison I could come up with was Ethan Kaille (from D.B. Jackson’s Thieftaker Chronicles); clever enough, strong enough, crafty enough to get by, but far from a god among men. A good, relatable lead.
I’ve had years to perfect my imbecilic desire to run at things that scare me.
While I didn’t love every minute of the Venetian Heretic, I loved a good portion. It always kept me engaged, and immersed in Venice. I was kindly provided a physical copy by the publisher, but I would love to hear the audio (narration courtesy of Peter Noble, who also reads the Long War series). It perfectly blends action and politics, but maybe overdoes it with the courtly flattery and address. Either way, Hughes’ adventure is one I’d recommend to all interested in historical fiction, fans of the author, or the period itself.
It’s hard to tell a story, starring a man, in this period that comes across as anywhere near feminist, but this does an adequate job of it. Yes, there’s still some sexist nonsense, but that’s just human history, innit? And none of it is from the author—just from the historical sentiment. For the time, I’m guessing this would’ve been scandalous, which is always nice to see.
In the afterword, the author mentions that this was his most-thoroughly researched book of all time—which, if you know anything about Christian Cameron, should speak volumes.
TL;DR
An immersive and incredibly well-researched Venice lays out before us. I thoroughly enjoyed my time spent with the Venetian Heretic, from the description and writing, to the broad cast of characters, to the political intrigue and swordsmanship and heart-pounding chases across canals or down back-alleys. It’s an immersive trip to Dogean Venice, complete with a fascinating tale and florid language of olde. An adventure I wouldn’t hesitate to recommend, to historical fiction lovers, or rans of the author alike.
https://arefugefromlife.wordpress.com...
The city of masques and riches, of Carnevale and canals, Venezia is the most picturesque of all the merchant republics. But beneath its surface, the city is constantly on the brink; blackmarkets, gangs, spy networks pulling it one way and the next. An occasional ally of Roma, Venezia is a mishmash of protestants, catholics, heretics—though far preferable to the infidel Turks. Still, there are those in the Papal See that would rather see the city burned than turned to a vassal state. Venezia itself wants neither. Its people are free and stubborn, independent, and used to it.
Richard Hughes is one of them. An Englishman born, he was reborn in Venezia after being freed from slavery. Now, he teaches the sword to those that would learn it, aided by his few friends and shadowy patron. Though no stranger to the gaols of the state, when he is taken by the Inquisition, his days may be numbered.
And yet, they only want to chat—and hire Hughes for a job. One simple task that will plunge him into the midst of a political matter far too complex for his liking. Venezia may be the city of Carnevale, but the season is over, and there are precious few masques left. But one still remains—and it’s this one that concerns Hughes. For the man wearing it is dead-set on painting the city red, one body at a time.
—
What a setting! The Venetian Heretic takes us to the canals and back alleys of Venice, during one of the most fascinating periods of its history. Merchant Republic Venezia. Even now, Venice is one of the most romanticized places on earth: a veritable Mecca for tourists hoping to see the city before the ocean reclaims it. But back then, when the city was its own master? After all, how can one city stay independent for so long? It would take a complex web of politics and crime and gold to keep the city afloat, much less from being subsumed by any number of empires on its doorstep.
But, setting aside, it’s quite an immersive story. I was instantly swept away by Hughes, who—while he’s maybe not the best narrator ever—was relatable in so many other ways. A former galley slave, he’s been through hardship. He’s lived more than one life, and reinvented himself in Venice. Where… he pretty much keeps his head down and attempts to eke out a living. He’s a bit thick—no Sherlockian metaphysical calculus here—and that’s even better. Quite refreshing from a lead not to have solved the plot after seeing two or three random clues. Not the greatest warrior, but he gets by. He’s no Arimnestos of Plataea, blessed by Ares. The best comparison I could come up with was Ethan Kaille (from D.B. Jackson’s Thieftaker Chronicles); clever enough, strong enough, crafty enough to get by, but far from a god among men. A good, relatable lead.
I’ve had years to perfect my imbecilic desire to run at things that scare me.
While I didn’t love every minute of the Venetian Heretic, I loved a good portion. It always kept me engaged, and immersed in Venice. I was kindly provided a physical copy by the publisher, but I would love to hear the audio (narration courtesy of Peter Noble, who also reads the Long War series). It perfectly blends action and politics, but maybe overdoes it with the courtly flattery and address. Either way, Hughes’ adventure is one I’d recommend to all interested in historical fiction, fans of the author, or the period itself.
It’s hard to tell a story, starring a man, in this period that comes across as anywhere near feminist, but this does an adequate job of it. Yes, there’s still some sexist nonsense, but that’s just human history, innit? And none of it is from the author—just from the historical sentiment. For the time, I’m guessing this would’ve been scandalous, which is always nice to see.
In the afterword, the author mentions that this was his most-thoroughly researched book of all time—which, if you know anything about Christian Cameron, should speak volumes.
TL;DR
An immersive and incredibly well-researched Venice lays out before us. I thoroughly enjoyed my time spent with the Venetian Heretic, from the description and writing, to the broad cast of characters, to the political intrigue and swordsmanship and heart-pounding chases across canals or down back-alleys. It’s an immersive trip to Dogean Venice, complete with a fascinating tale and florid language of olde. An adventure I wouldn’t hesitate to recommend, to historical fiction lovers, or rans of the author alike.
March 2, 2025
Christian Cameron’s The Venetian Heretic transports you to the vibrant world of 17th-century Venice. Having visited Venice a few years ago, I was eagerly anticipating this novel—and it did not disappoint.
The story follows Richard Hughes, an English swordsman seeking a new life in Venice, only to find himself quickly entangled in the city’s dangerous politics and intrigues. Alongside a mysterious woman concealing her true identity, Hughes faces threats that not only jeopardise himself and the few friends he has but also the burgeoning art form of opera. Can Hughes survive or will his actions ultimately put the city itself at risk.
Hughes might just be my favorite Cameron character—previously, that title belonged to Sir William Gold, but this novel is that good. What truly stands out is Cameron’s meticulous attention to historical detail, which completely immerses you in the opulence, intrigue, and grit of Venice. The first-person narration adds an extra layer of authenticity, making every experience feel immediate and personal.
I loved the vivid descriptions of Venice—the masked revelries, the opera, the dark alleyway chase, and the closed quarter sword fights, all of which provide a rich and atmospheric backdrop for the unfolding drama. This is told through Richard Hughes’s perspective which gives you a very unique and insightful view of Venice. As always, Cameron’s characters are layered, flawed, and utterly believable. The plot is packed with espionage, murder, crime, and even a touch of romance, keeping the momentum going with unexpected twists. And then there’s the thrilling entrance of none other than Charles de Batz de Castelmore—if you don’t know who he is, look him up. Trust me.
I can’t remember the last time I anticipated a sequel to a book as much as The Venetian Heretic. It is a masterful blend of historical fiction and mystery, further cementing Christian Cameron as one of the very best in the genre. This is an outstanding addition to his body of work, and I can’t recommend it highly enough.
My thanks to both NetGalley and the publisher Orion publishing group for a free ebook and an honest opinion.
The story follows Richard Hughes, an English swordsman seeking a new life in Venice, only to find himself quickly entangled in the city’s dangerous politics and intrigues. Alongside a mysterious woman concealing her true identity, Hughes faces threats that not only jeopardise himself and the few friends he has but also the burgeoning art form of opera. Can Hughes survive or will his actions ultimately put the city itself at risk.
Hughes might just be my favorite Cameron character—previously, that title belonged to Sir William Gold, but this novel is that good. What truly stands out is Cameron’s meticulous attention to historical detail, which completely immerses you in the opulence, intrigue, and grit of Venice. The first-person narration adds an extra layer of authenticity, making every experience feel immediate and personal.
I loved the vivid descriptions of Venice—the masked revelries, the opera, the dark alleyway chase, and the closed quarter sword fights, all of which provide a rich and atmospheric backdrop for the unfolding drama. This is told through Richard Hughes’s perspective which gives you a very unique and insightful view of Venice. As always, Cameron’s characters are layered, flawed, and utterly believable. The plot is packed with espionage, murder, crime, and even a touch of romance, keeping the momentum going with unexpected twists. And then there’s the thrilling entrance of none other than Charles de Batz de Castelmore—if you don’t know who he is, look him up. Trust me.
I can’t remember the last time I anticipated a sequel to a book as much as The Venetian Heretic. It is a masterful blend of historical fiction and mystery, further cementing Christian Cameron as one of the very best in the genre. This is an outstanding addition to his body of work, and I can’t recommend it highly enough.
My thanks to both NetGalley and the publisher Orion publishing group for a free ebook and an honest opinion.
March 14, 2025
A first-class trip to 17th Century Venice.
"The Venetian Heretic" opens in Venice, in 1651. It's the time of the Carnevale and the city is bustling. Richard Hughes, an Englishman, former soldier and galley-slave, ekes out a living teaching swordsmanship to anyone who can pay. He is a protestant in a Catholic country, but seeks a peaceful life. However when he is awakened in the middle of the night and summoned to the offices of the Inquisition, his life suddenly turns upside down. As an English-speaker he is requested to translate the testimony of an English prisoner, and with that his troubles begin.
Swiftly, Richard is drawn into the murky world of Venetian politics and religion. He finds himself sought after and employed by several warring factions, and has to tread carefully. Venice is a turbulent city, and is surrounded by those who covet it. Religious fervour abounds and tempers run high. And when people around him start dying, Richard has to decide who to trust. His adventures take him from the canals to the Aegean Sea, gaining friends and enemies along the way. We slowly learn that Richard is a more complex character than we thought, and it's fun to uncover some of his past.
The story is full of real-life people - The Chevalier Charles Stuart and his Italian wife, Francesco Morosini, and Giovani Francesco Loredan, writer and influential politician. There's also a huge cast of colourful characters, from a closet homosexual dance teacher, a brazen opera singer, and a mysterious young boy who attaches himself to Richard. There's a lot to keep track of! It also features several groups who played key roles in the fight for power in 17th Century Venice. The Incogniti, the Libertini, and the church. But it is Venice, with its canals and bridges, its Opera houses and its masque balls that is the star On the surface, a place of enlightenment but below the surface a quagmire of deceit and treachery.
Several themes flow through the book, but it's the slow rise of Opera, and its links to art and commerce which is prominent. We see how it grows and effects all levels of Venetian society. Rousing stuff!
This book will appeal to fans of SJ Parris, D.V. Bishop and Douglas Skelton. Heartily recommended.
"The Venetian Heretic" opens in Venice, in 1651. It's the time of the Carnevale and the city is bustling. Richard Hughes, an Englishman, former soldier and galley-slave, ekes out a living teaching swordsmanship to anyone who can pay. He is a protestant in a Catholic country, but seeks a peaceful life. However when he is awakened in the middle of the night and summoned to the offices of the Inquisition, his life suddenly turns upside down. As an English-speaker he is requested to translate the testimony of an English prisoner, and with that his troubles begin.
Swiftly, Richard is drawn into the murky world of Venetian politics and religion. He finds himself sought after and employed by several warring factions, and has to tread carefully. Venice is a turbulent city, and is surrounded by those who covet it. Religious fervour abounds and tempers run high. And when people around him start dying, Richard has to decide who to trust. His adventures take him from the canals to the Aegean Sea, gaining friends and enemies along the way. We slowly learn that Richard is a more complex character than we thought, and it's fun to uncover some of his past.
The story is full of real-life people - The Chevalier Charles Stuart and his Italian wife, Francesco Morosini, and Giovani Francesco Loredan, writer and influential politician. There's also a huge cast of colourful characters, from a closet homosexual dance teacher, a brazen opera singer, and a mysterious young boy who attaches himself to Richard. There's a lot to keep track of! It also features several groups who played key roles in the fight for power in 17th Century Venice. The Incogniti, the Libertini, and the church. But it is Venice, with its canals and bridges, its Opera houses and its masque balls that is the star On the surface, a place of enlightenment but below the surface a quagmire of deceit and treachery.
Several themes flow through the book, but it's the slow rise of Opera, and its links to art and commerce which is prominent. We see how it grows and effects all levels of Venetian society. Rousing stuff!
This book will appeal to fans of SJ Parris, D.V. Bishop and Douglas Skelton. Heartily recommended.
November 14, 2025
Here we are, two months later (I promise I like reading I’m just a busy bee). This book took me right back to Venice. It was about two years ago that I actually went there with madre and sis, slept in an attic among Venetian roofs around little plazas and narrow alleyways. It is safe to say this book was a great throwback. The setting was beautiful, it’s as if you’re right there experiencing 16th/17th century Venetian life with Richard Hughes, the witty English Protestant who tells us the story through his point of view. Such majestic and beautiful descriptions. Now this is historical fiction. What I love to see (or read, more like).
So cool that I actually bought this book only about 4 months after it was published earlier this year, and I made the decision to buy it with very few reviews from other readers, all saying it was a great example of the beauty of historical fiction. It did not disappoint.
The story itself is like a puzzle, with new reveals about previous characters that I did not see coming, like Filippo?? Such cool moments, honestly. The interactions between Richard and all the higher-ups of Venice create such interesting dynamics and satisfying moments. Richard going from an outsider to a friend of many noble people. The plot thickens. The blood splatters. The… idk but there should be a third to finish off the rule of three idk I’m not a writer I’m a cs major.
READ THIS BOOK IF YOU WANT TO EXPERIENCE HISTORIC VENETIAN LIFE, DRAMA, AND CULTURE. (rule of three successful!!)
So cool that I actually bought this book only about 4 months after it was published earlier this year, and I made the decision to buy it with very few reviews from other readers, all saying it was a great example of the beauty of historical fiction. It did not disappoint.
The story itself is like a puzzle, with new reveals about previous characters that I did not see coming, like Filippo?? Such cool moments, honestly. The interactions between Richard and all the higher-ups of Venice create such interesting dynamics and satisfying moments. Richard going from an outsider to a friend of many noble people. The plot thickens. The blood splatters. The… idk but there should be a third to finish off the rule of three idk I’m not a writer I’m a cs major.
READ THIS BOOK IF YOU WANT TO EXPERIENCE HISTORIC VENETIAN LIFE, DRAMA, AND CULTURE. (rule of three successful!!)
April 24, 2025
Thank you NetGalley and Orion Publishing Group for this eCopy to review
As I stepped into the vibrant world of The Venetian Heretic, I was immediately captivated by the allure of 17th-century Venice, a city shimmering with the dazzling festivities of Carnevale, yet brimming with shadows of intrigue and danger. Christian Cameron masterfully immerses the reader in this richly detailed historical setting, weaving a tale that is both thrilling and thought-provoking.
The story follows Richard Hughes, a swordsman seeking simplicity but instead finding himself entangled in the city's labyrinth of espionage, organized crime, and high-stakes drama. Hughes teams up with the enigmatic Phillip de Chambray, whose wit and courage stand out as she navigates Venice while concealing her true identity. Together, they confront a conspiracy that threatens to devastate the opera and Venice itself.
Cameron’s vivid descriptions brought the city to life for me, the bustling marketplaces, masked revellers, and grand opera houses all felt so real. The characters, too, were wonderfully dynamic. Hughes is a relatable protagonist whose courage and personal struggles resonate deeply, and Phillip is a refreshing portrayal of strength and complexity.
Overall, it’s a richly textured historical novel that combines intrigue, action, and thoughtful reflection. Perfect for anyone who loves history brought vividly to life, this book is an adventure through the masked mysteries of Venice.
As I stepped into the vibrant world of The Venetian Heretic, I was immediately captivated by the allure of 17th-century Venice, a city shimmering with the dazzling festivities of Carnevale, yet brimming with shadows of intrigue and danger. Christian Cameron masterfully immerses the reader in this richly detailed historical setting, weaving a tale that is both thrilling and thought-provoking.
The story follows Richard Hughes, a swordsman seeking simplicity but instead finding himself entangled in the city's labyrinth of espionage, organized crime, and high-stakes drama. Hughes teams up with the enigmatic Phillip de Chambray, whose wit and courage stand out as she navigates Venice while concealing her true identity. Together, they confront a conspiracy that threatens to devastate the opera and Venice itself.
Cameron’s vivid descriptions brought the city to life for me, the bustling marketplaces, masked revellers, and grand opera houses all felt so real. The characters, too, were wonderfully dynamic. Hughes is a relatable protagonist whose courage and personal struggles resonate deeply, and Phillip is a refreshing portrayal of strength and complexity.
Overall, it’s a richly textured historical novel that combines intrigue, action, and thoughtful reflection. Perfect for anyone who loves history brought vividly to life, this book is an adventure through the masked mysteries of Venice.
July 4, 2025
As I wrote in my review of that work, I found this to be a very interesting book to compare against the book I read immediately before:
Written on the Dark
by Guy Gavriel Kay. That book was far more beautifully written than Venetian Heretic. It's characters more sophisticated and urbane. It's plot more earth-shaking in scope.
And yet I enjoyed Venetian Heretic far, far more.
This was a plainly written work lacking the lyrical beauty of the words, or the way the plot came together as if it were fated to be. The protagonist fumbles around. Makes mistakes. Engages with characters that don't act as if they were players in a play. And yet I came out of Venetian Heretic eager to read the next in the series when it is published. I cannot say the same about WotD.
And yet I enjoyed Venetian Heretic far, far more.
This was a plainly written work lacking the lyrical beauty of the words, or the way the plot came together as if it were fated to be. The protagonist fumbles around. Makes mistakes. Engages with characters that don't act as if they were players in a play. And yet I came out of Venetian Heretic eager to read the next in the series when it is published. I cannot say the same about WotD.
August 3, 2025
Swords, Assassins and Opera, oh my!
Christian Cameron likes to go places other writers don't usually go. Whether it is the Ancient Black Sea Coast, or the Alexandrian Crusade, or Hellenistic Greece *after* the Punic Wars, Cameron picks little known, but always fascinating places and people in history to explore and write about, and this novel is no different. Set in Venice in 1651, after the Thirty Years war, (which Venice largely stayed out of), but during the long Cretan War (1645-1671) between Venice and the Ottoman Empire, an expatriate English gentleman, Thomas Hughes, operates a fencing school, barely. But all of that changes with a knock on the door from the Venetian inquisition. What follows is murder, mistaken identity, chases, disguises, run ins with the local mob, powerful noble patrons at cross and joint purposes, flippin' Franceso Cavalli, various women in need of rescue, and a mad assassin.
It's all there. And a cameo at the end I'm not going to spoil.
Christian Cameron likes to go places other writers don't usually go. Whether it is the Ancient Black Sea Coast, or the Alexandrian Crusade, or Hellenistic Greece *after* the Punic Wars, Cameron picks little known, but always fascinating places and people in history to explore and write about, and this novel is no different. Set in Venice in 1651, after the Thirty Years war, (which Venice largely stayed out of), but during the long Cretan War (1645-1671) between Venice and the Ottoman Empire, an expatriate English gentleman, Thomas Hughes, operates a fencing school, barely. But all of that changes with a knock on the door from the Venetian inquisition. What follows is murder, mistaken identity, chases, disguises, run ins with the local mob, powerful noble patrons at cross and joint purposes, flippin' Franceso Cavalli, various women in need of rescue, and a mad assassin.
It's all there. And a cameo at the end I'm not going to spoil.
May 10, 2025
After being freed from a French galley, Richard Hughes is far from England and is making a precarious living as a sword master. He is pulled into dangerous situation involving a scandalous political libretto for a new opera, one which criticises the Catholic church. Now balancing the needs of his various masters, the Venetian Republic, the Church and his original protector, Hughes needs to find a rogue assassin.
This is a rather fun read as it is full of swashbuckling action, high and low life and a suitably complicated plot. Obviously, Cameron is an experienced writer of historical fiction and this shows through the subtlety of the details of life in Venice towards the end of it's period of glory.
This is a rather fun read as it is full of swashbuckling action, high and low life and a suitably complicated plot. Obviously, Cameron is an experienced writer of historical fiction and this shows through the subtlety of the details of life in Venice towards the end of it's period of glory.
June 10, 2025
Intrigue and Inquisators in 17th C Venice
Richard Hughes, an English fencing master in Venice, a former soldier and galley slave, takes in students and accommodates a studious roommate Filippo. He teaches a woman, an opera singer of some fame.
A professor of philosophy has been murdered in Padua—a libertine. An innkeeper’s wife has gone missing, but why would the Holy Inquisition be looking for her? There are plots and intrigues and people chasing bad guys in gondolas led by a villain in a red mask. The ticking time bomb at the end is marvelous.
The libretto for an opera becomes an instrument of dissent, and one night’s bravado in the rescue of a courtesan finds Richard fleeing by sea, pressed into fighting the Turks. He returns a war hero to play detective. Piece by piece the case unravels, as Richard gets drawn in to the plot around the heretical opera, and the matter spills beyond Italy. Do his paymasters have conflicting agendas?
The cast of characters is lush—innkeepers, merchants, courtesans, nuns, spies, Inquisatori and members of the Dieci and of course gondoliers. Some of them are historical—I love that. The society of cosmopolitan 17th century Venice is complex, and Cameron doesn’t give much away. Plus, people wear masks, and not just at Carnivale. We are kept guessing at every point, plunged deeply into every scene and every conversation.
Richard is a great character for a detective—fully assimilated yet enough of an outsider that we see the exoticness of the culture through his eyes. Lovely phrases remind us. ‘Within the time it would take to say a papist Credo’; an abbess’s ‘piety [i]s stifling’; a person ‘had been in Venice long enough to learn to shrug’. When people speak with emphasis, they utter in Veneziano, and Cameron has probably translated the phrase verbatim.
This review first appeared in Historical Novels Review.
Richard Hughes, an English fencing master in Venice, a former soldier and galley slave, takes in students and accommodates a studious roommate Filippo. He teaches a woman, an opera singer of some fame.
A professor of philosophy has been murdered in Padua—a libertine. An innkeeper’s wife has gone missing, but why would the Holy Inquisition be looking for her? There are plots and intrigues and people chasing bad guys in gondolas led by a villain in a red mask. The ticking time bomb at the end is marvelous.
The libretto for an opera becomes an instrument of dissent, and one night’s bravado in the rescue of a courtesan finds Richard fleeing by sea, pressed into fighting the Turks. He returns a war hero to play detective. Piece by piece the case unravels, as Richard gets drawn in to the plot around the heretical opera, and the matter spills beyond Italy. Do his paymasters have conflicting agendas?
The cast of characters is lush—innkeepers, merchants, courtesans, nuns, spies, Inquisatori and members of the Dieci and of course gondoliers. Some of them are historical—I love that. The society of cosmopolitan 17th century Venice is complex, and Cameron doesn’t give much away. Plus, people wear masks, and not just at Carnivale. We are kept guessing at every point, plunged deeply into every scene and every conversation.
Richard is a great character for a detective—fully assimilated yet enough of an outsider that we see the exoticness of the culture through his eyes. Lovely phrases remind us. ‘Within the time it would take to say a papist Credo’; an abbess’s ‘piety [i]s stifling’; a person ‘had been in Venice long enough to learn to shrug’. When people speak with emphasis, they utter in Veneziano, and Cameron has probably translated the phrase verbatim.
This review first appeared in Historical Novels Review.
July 18, 2025
Bloody hell cameron
Christian Cameron , like the proverbial expensive bottle of plonk, gets even better with age. I kind of do my history backwards, I tend to read historical fiction and then go away and research it. I have fallen down many an enjoyable rabbit hole this way and many many times due to Mr Cameron .I enjoy his fantasy as much as his historical, he creates his worlds so well and this book is no exception. The vibrancy of the place come alive. There is a lot of good historical fiction out there at the moment mostly the staples of Greek,/Masadonion/Spartan, Roman, viking it's nice to learn of other bits of history and you certainly do with this book....all that and some opera thrown in for good measure. So get scribbling cuz I'm bloody hooked again.
Christian Cameron , like the proverbial expensive bottle of plonk, gets even better with age. I kind of do my history backwards, I tend to read historical fiction and then go away and research it. I have fallen down many an enjoyable rabbit hole this way and many many times due to Mr Cameron .I enjoy his fantasy as much as his historical, he creates his worlds so well and this book is no exception. The vibrancy of the place come alive. There is a lot of good historical fiction out there at the moment mostly the staples of Greek,/Masadonion/Spartan, Roman, viking it's nice to learn of other bits of history and you certainly do with this book....all that and some opera thrown in for good measure. So get scribbling cuz I'm bloody hooked again.
April 27, 2025
An utterly fantastic example of historical fiction. The book is clearly highly researched with immense detail which does a great deal to make 17th century Venice into a vibrant world. Honestly, my favorite parts of the book were the scenes detailing what simply living in Venice was like back then. The fight scenes are also fantastic and very historical with sword techniques taken straight from historical manuscripts. All that combined with a thrilling mystery and some wonderful characters make this one of my new favorites.
I loved every chapter and highly recommend to any fans of historical fiction, swordplay, or opera.
I loved every chapter and highly recommend to any fans of historical fiction, swordplay, or opera.
December 4, 2025
I am not a big fan of first person novels, but I have to admit that Uze is an amazing story teller - smart, funny, sarcastic and engaging. "Magnificent" story.
I don't like the "foreign" words used in this novel too much. It adds some authentic taste, but too much is too bad. For example - "I leap into the " fondamenta" without tipping the boat and ran along the pavement." If "fondamenta" is translated as pavement, then why is it used twice? Unnecessary - if you write a book in one language, keep it all the way. Especially confusing for someone, who uses English as a third language.
I don't like the "foreign" words used in this novel too much. It adds some authentic taste, but too much is too bad. For example - "I leap into the " fondamenta" without tipping the boat and ran along the pavement." If "fondamenta" is translated as pavement, then why is it used twice? Unnecessary - if you write a book in one language, keep it all the way. Especially confusing for someone, who uses English as a third language.
December 15, 2025
This one took a little while to get going, but once it did, it became a rollicking tale set in the 1600s, which was a decent story of intrigue.
Cameron is not my favourite historical fiction writer, and I thought this was wrapped up a little too much in 'worldbuilding' lol at the beginning, but I liked the characters, although the writing style was a little too stilted for me - 17th Century v modern language I suppose, but it didn't make it easy to read at times.
Average plot, average all the way through for me, sorry.
Cameron is not my favourite historical fiction writer, and I thought this was wrapped up a little too much in 'worldbuilding' lol at the beginning, but I liked the characters, although the writing style was a little too stilted for me - 17th Century v modern language I suppose, but it didn't make it easy to read at times.
Average plot, average all the way through for me, sorry.
April 26, 2025
another hostage to fortune . . .
Not content with making me look forward to news from Thomas Swan and William Gold - Cameron now obliges me to look forward to Richard Hughes - and de Chamberi.
These Cameron characters have much in common; including swords, exile and Italy.
But their differences of birth, family, faith and time periods make them distinct.
A good tale and well-told.
Not content with making me look forward to news from Thomas Swan and William Gold - Cameron now obliges me to look forward to Richard Hughes - and de Chamberi.
These Cameron characters have much in common; including swords, exile and Italy.
But their differences of birth, family, faith and time periods make them distinct.
A good tale and well-told.
July 13, 2025
Another Cameron Delight
It is hard to express just how excellent every Christian Cameron historical outing is, but once again he has woven a masterful tale of intrigue, action, and deeply human activity. Venice feels real enough to see and smell, the cast is memorable and though imperfect terribly likeable, and the swordplay exquisite. Finally, the close of the novel arrives like a thunderbolt, cranking my desire for the sequel to 11.
It is hard to express just how excellent every Christian Cameron historical outing is, but once again he has woven a masterful tale of intrigue, action, and deeply human activity. Venice feels real enough to see and smell, the cast is memorable and though imperfect terribly likeable, and the swordplay exquisite. Finally, the close of the novel arrives like a thunderbolt, cranking my desire for the sequel to 11.
July 22, 2025
My favorite book/series
I have read most of everything Christian/Miles Cameron has written and enjoyed them all but this book (which is to be a series!), is my favorite. The pacing is excellent, the characters are well balanced, and the plot hangs together very well. Is there anything better than being entertained and educated at the same time? This is the poster boy for top shelf historical fiction.
I have read most of everything Christian/Miles Cameron has written and enjoyed them all but this book (which is to be a series!), is my favorite. The pacing is excellent, the characters are well balanced, and the plot hangs together very well. Is there anything better than being entertained and educated at the same time? This is the poster boy for top shelf historical fiction.
Read
November 30, 2025Loved it!
This was fresh and new to me because of the wry sense of Riccardo's wry sense of humor. Plus, I never would have believed a late renaissance story could be such an edge-of-the-seat thriller. The vividly described gondola chase gives any car chase a run. I was sitting on the recliner helping them row. This has it all: great characters; vivid descriptions; plenty of intrigue.
This was fresh and new to me because of the wry sense of Riccardo's wry sense of humor. Plus, I never would have believed a late renaissance story could be such an edge-of-the-seat thriller. The vividly described gondola chase gives any car chase a run. I was sitting on the recliner helping them row. This has it all: great characters; vivid descriptions; plenty of intrigue.
May 8, 2025
5 stars for Christian Cameron.
Genuinely a good read, lovely flow and with enough to keep you entertained and reading. I’ve always liked his storytellers perspective it works well for me and I am enough a fan of both Cristian’s writing persona’s to enjoy the blurred lines of people and places and names! Highly recommended to you.
Genuinely a good read, lovely flow and with enough to keep you entertained and reading. I’ve always liked his storytellers perspective it works well for me and I am enough a fan of both Cristian’s writing persona’s to enjoy the blurred lines of people and places and names! Highly recommended to you.
August 9, 2025
This is an exciting historical fiction mixed with thriller and mystery. The plot is fast paced - who knows a chase in a gondola through the canals of Venice would be so exciting?! There's a description of the back alleys of Venice, details on the way of life in the 1600's, fencing, opera and explosions!
June 10, 2025
Not going to lie: this was not what I wanted.
I wanted more of historical adventure and less of shoehorning modern sociopolitical issues.
But the main character - Venice - is simply spectacular in the book. It's alive and it's raw.
Peter Noble's narration is, as usual, amazing.
I wanted more of historical adventure and less of shoehorning modern sociopolitical issues.
But the main character - Venice - is simply spectacular in the book. It's alive and it's raw.
Peter Noble's narration is, as usual, amazing.
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